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https://archive.org/details/japanesecolorpri01amer_0 


No.  763 


ILLUSTRATED  CATALOGUE  OF 


JAPANESE  COLOR  PRINTS 


THE  FAMOUS  COLLECTION  OF  THE  LATE 

ALEXIS  ROUART 

OF  PARIS,  FRANCE 

TOGETHER  WITH  A  SELECTION  FROM  THE  COLLECTION  OF  THE 

VICOMTE  DE  SARTIGES 

AND  A  FEW  PRINTS 
FROM  ANOTHER  PARISIAN  COLLECTION 


ON  FREE  PUBLIC  EXHIBITION 
FROM  THURSDAY,  FEBRUARY  2,  1922 
AT  THE  AMERICAN  ART  GALLERIES 

AND 

TO  BE  SOLD  WITHOUT  RESERVE  OR  RESTRICTION 
BY  ORDER  OF  THE  PRESENT  OWNERS 
ON  THE  AFTERNOONS  AND  EVENINGS  OF 
MONDAY  AND  TUESDAY 

February  6  and  7,  1922 


CATALOGUE  BY 

FREDERICK  W.  GOOKIN 


U& 

THE  SALE  TO  BE  CONDUCTED  BY 


Mr.  Thomas  E.  Kirby  and  His  Assistants,  of 
THE  AMERICAN  ART  ASSOCIATION,  Managers 
Madison  Square  South,  NEW  YORK 


CONDITIONS  OF  SALE 


1.  Any  bid  which  is  merely  a  nominal  or  fractional  advance  may  be  rejected  by  the  auctioneer, 
if,  in  his  judgment,  such  bid  would  be  likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any  dispute  arises  between  two  or  more 
bidders,  the  auctioneer  shall  either  decide  the  same  or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  purchase  money  as  may  be  required, 
and  the  names  and  addresses  of  the  purchasers  shall  be  given  immediately  on  the  sale  of  every 
lot,  in  default  of  which  the  lot  so  purchased  shall  be  immediately  put  up  again  and  re-sold. 

Payment  of  that  part  of  the  purchase  money  not  made  at  the  time  of  sale,  shall  be  made  within 
ten  days  thereafter,  in  default  of  which  the  undersigned  may  either  continue  to  hold  the  lots 
at  the  risk  of  the  purchaser  and  take  such  action  as  may  be  necessary  for  the  enforcement  of  the 
sale,  or  may  at  public  or  private  sale,  and  without  other  than  this  notice,  re-sell  the  lots  for  the 
benefit  of  such  purchaser,  and  the  deficiency  (if  any)  arising  from  such  re-sale,  shall  be  a  charge 
against  such  purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon  payment  of  the  total  amount  due  for  all 
purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of  9  A.  M.  and  1  P.  M.,  and  on  other 
days — except  holidays — between  the  hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American  Art  Galleries,  or  other  place  of 
sale,  as  the  case  may  be,  and  only  on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association,  of  any  purchase  during  the  session 
of  the  sale  at  which  it  was  sold. 

5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  business  in  which  the  Association  is  in 
no  wise  engaged,  and  will  not  be  performed  by  the  Association  for  purchasers.  The  Association 
will,  howrever,  afford  to  purchasers  every  facility  for  employing  at  current  and  reasonable  rates 
carriers  and  packers;  doing  so,  how'ever,  without  any  assumption  of  responsibility  on  its  part 
for  the  acts  and  charges  of  the  parties  engaged  for  such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of  the  purchaser.  Title  passes  upon 
the  fall  of  the  auctioneer’s  hammer,  and  thereafter,  while  the  Association  will  exercise  due  caution 
in  caring  for  and  delivering  sue  purchase,  it  will  not  hold  itself  responsible  if  such  purchase  be 
lost,  stolen,  damaged  or  destroyed. 

Storage  charges  will  be  made  upon  all  purchases  not  removed  within  ten  days  from  the  date 
of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  cr  the  Association  of  the  correctness  of  the 
description,  genuineness  or  authenticity  of  any  lot,  and  no  sale  will  be  set  aside  on  account  of 
any  incorrectness,  error  of  cataloguing,  or  any  imperfection  not  noted.  Every  lot  is  on  public 
exhibition  one  or  more  days  prior  to  its  sale,  after  which  it  is  sold  “as  is”  and  without  recourse. 

The  Association  exercises  great  care  to  catalogue  every  lot  correctly,  and  will  give  consideration 
to  the  opinion  of  any  trustwoithy  expert  to  the  effect  that  any  lot  has  been  incorrectly  catalogued, 
and,  in  its  judgment,  may  either  sell  the  lot  as  catalogued  or  make  mention  of  the  opinion  of 
such  expert  who  thereby  would  become  responsible  for  such  damage  as  might  result  were  his 
opinion  without  proper  foundation. 


SPECIAL  NOTICE 

Buying  or  bidding  by  the  Association  for  responsible  parties  on  orders  transmitted  to  it  by 
mail,  telegraph  or  telephone,  will  be  faithfully  attended  to  without  charge  or  commission.  Any 
purchase  so  made  will  be  subject  to  the  above  Conditions  of  Sale,  which  cannot  in  any  manner 
be  modified.  The  Association,  however,  in  the  event  of  making  a  purchase  of  a  lot  consisting 
of  one  or  more  books  for  a  purchaser  who  has  not,  through  himself  or  his  agent,  been  present  at 
the  exhibition  or  sale,  will  permit  such  lot  to  be  returned  within  ten  days  from  the  date-of  sale, 
and  the  purchase  money  will  be  returned,  if  the  lot  in  any  material  manner  differs  from  its  catalogue 
description. 

Orders  for  execution  by  the  Association  should  be  written  and  given  with  such  plainness  as 
to  leave  no  room  for  misunderstanding.  Not  only  should  the  lot  number  be  given,  but  also 
the  title,  and  bids  should  be  stated  to  be  so  much  for  the  lot  and  when  the  lot  consists  of  one 
or  more  volumes  of  books  or  objects  of  art,  the  bid  per  volume  or  piece  should  also  be  stated. 
If  the  one  transmitting  the  order  is  unknown  to  the  Association,  a  deposit  should  be  sent  or 
reference  submitted.  Shipping  directions  should  also  be  given. 

Priced  copies  of  the  catalogue  of  any  sale,  or  any  session  thereof,  will  be  furnished  by  the 
Association  at  a  reasonable  charge. 

AMERICAN  ART  ASSOCIATION 
American  Art  Galleries 

Madison  Square  South 

New  York  City 


FOREWORD 


THE  brothers  Alexis  and  Henri  Rouart  were  among  the  great  Parisian 
collectors,  widely  known  for  their  discriminating  taste  and  the  high 
quality  of  the  works  of  art  that  they  owned.  The  major  part  of  the 
Japanese  prints  included  in  this  sale  were  gathered  by  Alexis,  who  died  in 
1911.  His  valuable  collections  of  paintings,  books,  etc.,  were  sold,  but  his 
Japanese  prints,  which  were  regarded  as  one  of  the  choicest  of  the  Parisian 
collections,  were  bequeathed  to  Henri,  who  merged  them  with  his  own  collec¬ 
tion.  In  January  1912  he  also  passed  away.  At  the  end  of  that  year  the  sales 
of  his  celebrated  collections  of  paintings  by  Millet,  Corot,  Manet,  Daumier, 
Renoir,  Degas,  and  other  eminent  artists  were  of  sensational  importance  in 
the  art  world.  But  his  Japanese  prints  were  not  thus  dispersed.  To  whom 
they  were  bequeathed  the  writer  is  not  informed,  but  some  time  later  they 
were  acquired  by  the  present  owner,  who  has  retained  only  the  Sharaku 
and  a  few  other  items,  and  is  now  giving  American  buyers  an  opportunity 
of  adding  the  rest  of  them  to  their  collections.  With  these  a  selection  of 
choice  prints  from  the  collection  of  the  Vicomte  de  Sartiges,  and  a  few  from 
another  Parisian  collection  are  offered.  A  sale  of  such  importance  is  a  note¬ 
worthy  event.  That  it  should  be  held  in  New  York  instead  of  Paris  is  due 
to  the  abnormal  conditions  caused  by  the  world  war. 

It  is  impossible  to  look  through  these  prints  without  being  impressed  by 
the  taste  shown  in  their  selection.  Even  those  that  are  not  in  the  best  physical 
condition  are  not  without  charm;  and  the  number  of  those  having  conspic¬ 
uous  merit  of  one  sort  or  another  is  unusually  large.  Only  a  few  of  these  can 
be  specified  in  this  foreword.  Attention  may  be  called,  however,  to  the  very 
attractive  lot  of  primitives,  nearly  every  one  of  which  is  a  gem;  to  the  many 
fine  prints  by  Utamaro,  including  several  of  rare  distinction,  and  in  particular, 
to  the  superb  impression  of  “The  Chestnuts”  (No.  309);  and  the  beautiful 
impression  of  the  famous  “Korean  Procession”  (No.  556),  which  formerly 

5 


hung  in  the  hall  of  M.  Henri  Rouart’s  residence.  One  of  the  great  treasures 
is  the  celebrated  “White  Falcon”  by  Koryusai  (No.  763)  for  which  M. 
Rouart  is  reputed  to  have  paid  ten  thousand  francs,  a  sum  that,  it  is  hardly 
necessary  to  add,  represented  in  his  day  a  substantial  amount  in  dollars. 
A  remarkable  print  (No.  848)  by  Hokusai  signed  Kako,  and  a  lovely  large 
head  portrait  (No.  347)  by  Choki  should  not  pass  unnoticed;  nor  should  the 
unusually  fine  impressions  of  the  “Fishes”  (Nos.  423  to  440)  by  Hiroshige, 
which,  for  their  exceptional  quality,  are  well-known  to,  and  highly  esteemed 
by,  the  European  collectors.  A  glance  at  the  illustrations  will  reveal  many 
other  prints  of  importance.  But  all  the  important  prints  have  not  been 
illustrated:  it  is  necessary  to  draw  the  line  somewhere  in  regulating  the  cost 
of  printing  a  sale  catalogue.  Were  it  not  for  that  consideration  these  pages 
would  be  embellished  with  illustrations  of  many  more  charming  prints  by 
Harunobu,  Koryusai,  Kiyonaga,  Shuncho,  Eishi,  Utamaro,  Hokusai, 
Hiroshige,  and  other  eminent  artists  who  are  worthily  represented  in  the 
collection. 

To  forestall  as  far  as  possible  complaints  by  buyers,  an  attempt  has  been 
made  to  give  such  dependable  information  respecting  the  quality  of  impres¬ 
sion,  and  the  physical  condition  of  the  prints,  as  can  be  put  into  a  few  words. 
It  should  be  understood,  however,  that  the  phrases  “good  condition”  and 
“fine  condition”  do  not  necessarily  connote  entire  freedom  from  minor 
defects,  such,  for  instance,  as  a  few  small  moth-holes  which  collectors  look 
upon  as  of  no  importance  unless  they  are  placed  where  they  distinctly  mar 
the  appearance  of  the  prints  in  which  they  occur.  Very  few  of  the  prints 
that  have  survived  to  our  time  are  entirely  free  from  these  holes,  but  in 
most  cases,  the  holes,  if  small  are  easily  patched  so  as  not  to  show  without 
close  scrutiny.  And  wrinkles  in  the  paper,  if  it  is  not  soiled,  are  readily 
smoothed  out.  Therefore  it  has  not  been  thought  necessary  to  mention  these 
slight  blemishes  in  every  instance. 

In  all  cases  where  prints  have  been  trimmed  more  than  the  merest  trifle, 
the  aim  has  been  to  note  the  fact,  but,  as  the  original  sizes  are  not  always 
ascertainable,  some  instances  of  trimming  may  have  been  unintentionally 


6 


overlooked.  For  many,  though  by  no  means  all,  of  the  Ukiyoe  prints,  sheets 
of  paper  measuring  about  15x10  inches  were  used;  and  in  the  case  of  the 
smaller  prints  a  common  practice  was  to  engrave  two  or  more  upon  one 
block.  This  will  serve  in  a  general  way  as  a  guide  by  which  the  reader  can 
judge  of  the  extent  of  the  trimming,  the  measurements  here  given  being  in 
each  instance  the  size  of  the  paper  (to  the  nearest  3d?  inch)  and  therefore 
including  the  margins,  if  any.  Because  a  print  has  been  somewhat  trimmed  it 
does  not  necessarily  follow  that  it  lias  been  seriously  harmed.  The  resulting 
damage  is  often  so  slight  as  to  be  negligible;  but,  as  opinions  regarding  this 
may  differ  widely,  the  buyer  in  each  instance  must  be  the  judge.  And  in 
general  it  may  be  said  that  the  condition  of  prints  varies  so  greatly  and  in 
so  many  ways  that  opinions  may  likewise  differ  as  to  the  accuracy  of  the 
phrases  used  in  describing  them.  Therefore,  while  the  writer  of  this  catalogue 
has  tried  to  make  the  descriptions  reliable,  buyers  should  note  that  the 
conditions  of  the  sale  are  such  that  the  usual  rule  of  caveat  emptor  must 
apply. 

While  the  prints  are  sold  without  guaranty,  they  have  all  been  subjected  to 
careful  scrutiny,  and,  in  the  opinion  of  the  writer,  there  is  not  a  modern  reprint 
among  them,  or  one  that  has  been  revamped  by  overprinting. 

Frederick  W.  Gookin. 


i 


INDEX 


Banri . 542 

Buncho  (Ippitsusai) .  259-270 

Bunsei  ....  .  743,  744 

Chikukoku . 746 

Ch5ki  (Eishosai)  . 347 

Eiri  (Rekisentei) . 304 

Eisen  (Keisai) .  462-472 

Eisen  and  Hiroshige.  Kisokaido  series .  449-461 

Eishi  (Hosoda) .  84-87,  299-303,  543-547,  777-789 

Eisui  .  88 

Fuminobu . 746 

Fusatane  . 494 

Gakutei .  392-406 

Gyoko  .  . 496 

Harunobu  (Suzuki;  .  ...  50-58,  250-258,  270,  498-507,  751-758 

Heigan . 493 

Hiroshige  (Utagawa)  Chushingura.  First  series .  187-202 

Second  series .  955-966 

Edo  Meisho .  686-689 

Fishes  .  423-443 

Harimaze  ....  205-207,  230,  231,  926-929 

Honcho  Meisho . 182,  183 

Koto  Meisho . 685 

Kwacho .  694-706,  915-925 

Kyoto  Meisho .  444-448 

Miscellaneous  186,  204,  413-417,  930,  931,  954 

OmiHakkei .  232-240 

One  Hundred  Edo  Views .  933-953 

Roku-ju-yo  Shu .  408-412 

Six  Tama  Rivers .  184,  185,  690-693 

Tokaido.  First  Series .  664-675 

”  Half-block  series  .  .  203,  229,  418-422 

Maru-Sei  series .  676-678 

Toto  Meisho .  662,  663,  679-684 

Triptychs .  208,  407,  932 

Uchiwa  Mounts .  209-228 

Hiroshige  and  Eisen.  Kisokaido  series .  449-461 

Hiroshige  II  (see  Shigenobu) .  967-978 

Hokkei  (Aoigaoka) . 150-163 


9 


Hokuba  (Tesai)  .  148,  149,  734 

Hokuju  (Shotei) .  874-885 

Hokusai  (Katsushika)  Bridges .  360-366 

Hyakunin  Isshu  (100  Poems)  ....  144-147 

Kanadehon  Chushingura . 133-143 

Miscellaneous.  129-132,  352-359,  367-372,  848-858 

Shika  Sha-shin  Kyo  .  373-379 

Surimono .  350,  351,  860-873 

Thirty-six  Views  of  Fuji .  596-635 

Hokutai . 647 

Hokuten .  648 

Katsunobo  (Rondo)  ...  5 

Keiri .  747,  748 

Iviyochika  (Kobayashi) .  497 

Iviyohiro  (Torii) .  . 47,  48 

Kiyomasu  ”  4 

Kiyomine  ”  117 

Kiyomitsu  ”  36-46 

Kiyonaga  ”  ....  69-76,  279-291,  527-541,  770-776,  981-984 

Kiyonobu  I”  . 2, 3 

Kiyonobu  II  ”  35 

Kiyotada  ”  6 

Kiyotsune  ”  49 

Komatsuken . 59 

Koryusai  (Isoda) .  62-68,  271-278,  508-514,  759-763 

Kosetsu .  731 

Kunimaru  I  (Utagawa)  893 

Kunimasa  ”  585-595 

Kunisada  ”  .  886-891,  978 

Kunitsuna  ”  892 

Kuniyasu  I  ”  894-895 

Kuniyoshi  ”  Hyakunin  Isshu .  707-726 

Koso  go  Ichidai .  896-902 

Miscellaneous .  165-172,  473-489 

Toto  Meisho  .  .  ....  173-181 

Zodiac  Signs  .  ....  903-914 

Kyosai  (Kawanabe) .  738 

Masanobu  (Kitao) .  ....  767,  768 

Masanobu  (Okumura) .  7-22 

Masayoshi  (Kitao) .  769 

Masunobu  (Tanaka) . 60 

Moronobu  (Ilishikawa) . 1 

Paintings .  985-999 

Reisai .  730 

Reproductions  of  Paintings  ....  740-742 

Roho . " . 495 


10 


Ryukoga  (Shikij  otei) . 164 

Sekijo . 750 

Sharaku  (Toshusai)  .  307,  308 

Shigemasa  (Kitao) .  764-766 

Shigenaga  (Nishimura) . 30 

Shigenobu  (Utagawa)  called  also  Hiroshige  II .  967-978 

Shigenobu  (Yanagawa) .  385-391 

Shiko  II .  348,  349 

Shinsai  (Ryuryusai)  .  636-646 

Shucho  (Tamagawa) . 840 

Shuncho  (Katsukawa) .  292-298 

Shunko  ”  .  524-526 

Shunman  (Kubo)  .  305,  306 

Shunsen  II  (Katsukawa) . 128 

Shunsho  ”  515-523 

Shuntei  ”  .  732,  733 

Shunyei  ”  790-805 

Shunzan  ”  .  . 127 

Sugakudo . 749 

Sukei . 380 

Sukoku . 727 

Taito  (Katsushika) .  381-384,  745 

Toshinobu  (Okumura) . 27-29 

Toyoharu  (Utagawa) . 77-83 

Toyohiro  ”  . .  ....  649-661 

Toyokuni  I  ”  .  118-126,841-847 

Toyoshige  ”  called  also  Kosotei  Toyokuni  ....  736,  737 

Toyonobu  (Ishikawa) .  ...  31-34 

Unkan .  980 


Unknown .  23-26,  61,  490-492,  728,  729,  739,  979 

Utamaro  (Kitagawa) .  89-116,  309-346,  548-584,  806-839 


Yoshi-iku  (Utagawa)  . 241 

Yoshikazu  ”  .  ...  .  .  246-249 

Yoshitora  ”  .  243,  244 

Yoshitoshi  ”  .  242,  735 

Yoshitsuya  ...  .  .  245 


1] 


CATALOGUE 


FIRST  SESSION 

MONDAY  AFTERNOON,  FEBRUARY  6,  1922 


AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2:00  O’CLOCK 

Catalogue  numbers  1  to  2fi9 


HISHIKAWA  MORONOBU 

The  first  of  the  print  designers.  Born  about  1625;  died  1695.  Studied 
under  his  father  Hishikawa  Kichizaemon  Michishige,  a  celebrated  embroiderer 
who  was  also  a  skillful  painter  and  designer. 

1  Under  Observation.  A  woman  lying  upon  the  floor  of  a  room,  looking 
out  from  behind  a  two-fold  screen  at  a  pair  of  lovers  who  are 
embracing  each  other.  Sumi-e,  carefully  colored  by  hand.  Not 
signed. 

Size,  10%xll%  inches.  Fine  impression,  in  fine  condition;  the 
paper  beautifully  toned  by  exposure  to  the  light. 


TORII  KIYONOBU  I 

Son  of  Torii  Kiyomoto.  Personal  name  Torii  Shobei.  Born  1664;  died 
August  22,  1 729. 

2  Scene  from  a  Drama.  The  second  Ichikawa  Danjuro  as  Watanabe 

no  Tsuna,  standing,  looking  down  at  the  first  Matsumoto  Koshiro, 
who,  as  Sakata  Kintoki  is  lifting  a  heavy  go  table  held  upon  his 
right  shoulder:  drama  “Kadomatsu  Shitenno,”  Nakamura  theatre, 
February,  1726.  Danjuro  played  the  role  of  Watanabe  no  Tsuna 
in  1720  also,  but  this  print  appears  to  be  of  the  later  date.  Hand- 
colored  print  (Urushi-e).  Signed,  Torii  Kiyonobu. 

Size,  12fi  %  6  inches.  Fine  impression,  in  very  fine  condition. 

3  Scene  from  a  Drama.  The  first  Ichikawa  Monnosuke  as  a  man 

holding  a  clam-rake,  and  Sodesaki  Iseno  as  a  woman  holding  a 

15 


First  Afternoon 


16 


basket,  standing  on  the  sands  by  the  sea  at  low  tide.  Urushi-e. 
Signed,  Torii  Kiyonobu. 

Size,  12%  x  6  inches.  Fine  impression,  in  fine  condition.  See  illustra¬ 
tion. 


No.  3 


No.  4 


TORII  KIYOMASU 

Eldest  son  of  Torii  Kiyonobu  I,  whom  he  succeeded  as  the  head  of  the  Torii 
line.  Date  of  birth  unknown;  died  January  f,  176 f. 

4  Scene  from  a  Drama.  The  second  Ichikawa  Danjuro  in  the  role  of 
Soga  no  Juro,  and  Sodeoka  Shotaro  as  Oiso  no  Tora,  who  is  seated 
before  a  manaita  (chopping  board)  and  is  swinging  an  axe  to  cut 
off  the  head  of  a  white  crane  that  lies  upon  the  board.  Probably  a 


17 


First  Afternoon 


scene  from  “Hanabusa  Funjin  Soga,”  performed  at  the  Ichimura 
theatre  in  February  1733  (Spring  of  Kyoho  18).  Urushi-e.  Signed, 
Torii  Kiyomasu  fude. 

Size,  12%  x  5%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


No.  5 


KONDO  KATSUNOBU 

Little  is  known  about  this  artist  save  that  he  worked  in  the  third  decade  of 
the  eighteenth  century.  The  'prints  designed  by  him  were  few  in  number  and 
are  very  rare,  but  of  much  distinction. 

5  The  Woman  in  Black.  A  Buddhist  nun  turning  to  speak  to  two  girl 
attendants  who  are  following  her.  She  wears  a  shade  hat  and  a 


First  Afternoon 


18 


kimono  of  black  rinzu  (satin  damask).  Urushi-e.  Signed,  Kondo 
Katsunobu. 

Size,  12}/i  x57/8  inches.  Good  impression,  in  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  XLIV  of  the  Vignier-Inada 
Catalogue  of  “Estampes  Japonaises  Primitives.” 


TORII  KIYOTADA 

Pupil  of  Kiyonobu.  Worked  in  the  second  and  third  decades  of  the  eight¬ 
eenth  century.  Dates  of  birth  and  death  unknown. 

6  Nakamura  Kichibei  in  the  role  of  a  tori-sashi  (bird  catcher).  Urushi-e. 
Signed,  Torii  Iviyotada. 

Size,  12%  x  6  A  inches.  Good  impression,  in  fair  condition. 


OKUMURA  MASANOBU 

Reputed  to  have  been  a  pupil  of  Torii  Kiyonobu  I,  but  tutelage  not  certainly 
known.  Personal  name  Okumura  Genpachi.  Born  about  1685;  died  March 
29,  1768. 

SIX  SUMI-E  PRINTS  FROM  AN  UNNAMED  SET 

The  set  was  issued  in  an  orihon  ( folding  album)  and  probably  bore  a  title 
of  some  sort.  Only  the  end  sheet  ( see  No.  9)  was  signed.  The  blocks  turned 
up  aboid  twenty-five  years  ago  and  found  permanent  lodgment  in  the  Louvre 
after  several  impressions  had  been  taken  from  them  on  old  paper.  The  impres¬ 
sions  here  listed  do  not  appear  to  belong  in  this  modern  category,  though  the 
color  of  the  ink  with  which  they  are  printed  is  unlike  the  deep  black  of  the  sumi 
used  in  Masanobu’s  time.  They  are  printed  on  thick  old  paper,  size  11  x  15% 
inches,  and  all  are  in  good  condition. 

7  Street  Scene  in  the  Yoshiwara.  At  the  right  a  samurai,  who  may  be 

an  official  inspector,  as  his  face  is  not  masked,  has  just  entered 
the  precinct  through  the  great  gate.  Walking  toward  him  at  the 
left  is  an  oiran  followed  by  a  kamuro  and  a  matron.  Not  signed. 

8  Entertaining  Two  of  the  Fortune  Gods.  Toshitoku,  Daikoku,  and  a 

yujo  seated  on  the  veranda  of  a  house  by  the  sea,  on  a  moonlight 
evening.  The  woman  plays  upon  a  samisen  to  entertain  her 
guests  while  Daikoku,  who  is  merry  from  drinking  much  sake, 


19 


First  Afternoon 


leans  forward  and  lets  a  kamuro  stand  upon  his  back  that  she  may 
place  a  small  stand  supporting  two  bottles  of  sake  upon  the  top  of 
Toshitoku’s  elongated  cranium.  Not  signed. 


No.  9 

9  Signing  the  Screen.  An  artist,  presumably  Masanobu  himself,  seated 
before  a  two-fold  screen  bearing  an  ink -landscape,  signing  the 
painting  (and  incidentally  the  series  of  prints)  “Okumura  Masa¬ 
nobu  fude,”  while  a  young  man  and  a  girl  seated  by  his  side 
look  on,  and  the  girl  hands  her  companion  a  folded  love  letter. 
As  the  series  is  one  of  Masanobu ’s  comparatively  early  works,  the 
accuracy  of  this  self-portrait,  which  depicts  a  middle-aged  man 
with  a  stubbly  beard  and  wearing  eye-glasses,  is  open  to  question. 

10  Plying  Shojo  with  Sake.  An  oiran  seated  by  a  huge  jar  of  sake  is 
offering  large  cups  of  the  beverage  to  two  shojo,  who  have  been 
made  drunk  with  it  and  are  rolling  about  on  the  floor  beside  her. 
Shojo  are  mythical  red-haired  creatures  supposed  to  live  at  the 
sea-shore  and  to  be  inordinately  fond  of  sake.  From  this  myth, 
the  custom  has  arisen  in  Japan  of  saying,  “There  goes  a  shojo,” 
when  one  sees  a  drunken  man.  Not  signed. 


First  Afternoon 


20 


11  Daikoku’s  Real  Attendants.  Daikoku  seated  by  a  bale  of  rice, 

against  which  his  magic  tsuchi  (mallet)  rests,  discovers  that 
instead  of  white  rats  as  attendants  he  has  an  oiran  and  her 
kamuro,  who  emerge  as  he  opens  his  bag  of  precious  things.  Not 
signed. 

12  A  Trial  of  Strength.  An  oiran  reclining  upon  the  floor,  watches  her 

kamuro  and  Sakata  Kintoki,  celebrated  for  his  enormous  strength, 
grasping  the  ends  of  a  bag  of  sweetmeats,  each  trying  to  pull  it 
away  from  the  other.  Not  signed. 

13  Portrait  of  Tenjin  Sama.  The  famous  ninth  century  noble  Sugawara 

no  Michizane  attired  in  his  robes  of  state  as  Udaijin,  or  minister  of 
the  right,  to  the  Emperor  Daigo.  Through  the  false  accusation  of 
his  bitter  enemy,  Fujiwara  no  Tokihira,  the  minister  of  the  left, 
who  is  known  also  as  Shihei,  he  was  banished  to  Tsukushi  in  A.  D. 
901.  Twenty  years  after  his  death  he  was  re-established  in  all  his 
dignities,  and  has  since  been  honored  under  the  names  of  Tenjin 
Sama  and  Kanshojo.  Hand-colored  print.  Signed,  Hogetsudo 
Tanchosai,  Okumura  Shinmyo  Bunkaku  Masanobu  Kin  (respect¬ 
fully)  Zu  (drawn). 

Size,  12^4x9^2  inches.  Good  impression,  in  good  condition.  It  is, 
however,  only  the  lower  two-thirds  of  a  kakemono-e.  On  the  upper  part 
a  pine  tree  and  a  blossoming  plum  branch  extend  across  the  field.  The 
entire  composition  is  illustrated  on  Plate  XXXV,  V.-I.  Catalogue  of 
Primitives. 

14  Saigyo-Hoshi  Contemplating  Mount  Fuji.  The  famous  Buddhist 

monk  is  shown  seated  looking  up  at  the  peak  of  Fuji.  He  lived 
from  1118  to  1190.  Before  he  became  a  bozu,  he  was  a  samurai 
named  Sato  Norikiyo.  Urushi-e.  Signed,  Okumura  Masanobu. 

Size,  12fix5}/2  inches.  Good  impression;  somewhat  damaged  in  the 
upper  corner  at  the  right  where  a  thin  layer  has  been  stripped  from  the 
surface  of  the  paper. 

15  Time  for  Refreshments.  A  maid  bringing  rice  cakes  on  a  small  stand 

to  a  man  and  a  woman  reclining  on  the  floor  of  a  room  with  a 
kettle  of  sake  by  their  side.  Sumi-e.  End  sheet  of  an  orihon. 
Signed,  Nihon  Gwa-ko  (Japanese  artist)  Okumura  Masanobu. 

Size,  It  x  16  inches.  Fine  impression,  in  fine  condition. 


21 


First  Afternoon 


16  An  Actor  of  Women’s  Roles.  Hayakawa  Shinkatsu  as  a  keisei  (des¬ 
ignation,  in  the  Fujiwara  epoch,  of  a  high-class  courtesan). 
Urushi-e.  Signed,  Okumura  Masanobu. 

Size,  12%  x  6  inches.  Late  impression,  in  good  condition.  Color 
very  fine.  See  illustration. 


No.  16 


No.  17 


17  Sanjo  Kantaro  as  an  elaborately  dressed  keisei  standing  facing  toward 
the  left.  Left-hand  sheet  of  a  hoso-e  triptych  entitled  “Eclo 
Iroko.”  Urushi-e.  Signed,  Okumura  Masanobu  sho-hitsu  (true 
brush). 

Size,  12%  x  5Yi  inches.  Fine  impression ,  in  very  fine  condition.  See 
illustration. 


First  Afternoon 


22 


No.  18 


No.  19 


18  The  First  Sanogawa  Ichimatsu  as  a  waitress  at  the  Fuji  no  Cha-ya 

(The  Wistaria  Tea-house).  As  Ichimatsu’s  first  appearance  on 
the  Edo  stage  was  in  December  1741,  and  by  the  end  of  the  next 
year  the  printed  beni-e  had  almost  entirely  superseded  the  urushi-e, 
the  date  of  this  print  is  probably  early  in  1742.  Urushi-e.  Signed, 
Okumura  Masanobu  fude. 

Size,  1  lf$x  5  j-8  inches.  Fine  impression,  in  very  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  XXVI I ,  V.-I .  Catalogue  of  Prim¬ 
itives. 

19  A  Big  Bokudo.  A  common  sight  in  old  Japan  was  the  bokudo,  or 

herd-boy,  riding  upon  a  water-buffalo  ox,  and  playing  upon  a 
flute.  Here  a  full-grown  youth  is  depicted  seated  crosswise  upon 
a  black  and  white  carabao,  and  accompanied  by  two  boys,  one  of 


23 


First  Afternoon 


whom  leads  the  ox,  while  the  other  carries  a  rake  and  has  a  basket 
slung  upon  his  back.  Beni-e.  Signed,  Okumura  Bunkaku. 

Size,  12%  x  5%  inches.  Good  impression,  much  faded,  hut  otherwise 
in  fair  condition.  See  illustration. 


No.  20 


20  Scene  from  a  Drama.  The  eighth  Ichimura  Uzaemon  in  the  role  of 
Taira  no  Koremochi,  and  the  first  Arashi  Koroku,  a  famous  im¬ 
personator  of  women’s  roles,  as  Makomo  no  Mae,  in  “Shusse 
Momiji-gari,”  the  Kaomise  (New-year  opening)  play  at  the  Ichi¬ 
mura  theatre,  December  1747.  Beni-e.  Signed,  Shomei  (real 
signature,  i.e.,  genuine  design),  Hogetsudo  Okumura  Bunkaku 
Masanobu  Sho-hitsu  (true  brush).  At  the  foot  of  the  print  is  an 
inscription  cautioning  the  public  against  buying  deceptive  imita- 


First  Afternoon 


24 


tions  of  his  prints  that  were  on  the  market,  apd  stating  that  none 
should  be  accepted  as  from  his  hand  unless  bearing  his  signature. 

Size,  1 1 ’A  x  5 Yz  inches.  Fine  impression,  in  good  condition  save  that 
the  beni  is  much  faded.  See  illustration.  Illustrated  also  on  Plate  XLIV 
of  the  V.-I.  Catalogue  of  “ Primitives .” 


No.  21 


No.  22 


21  Enjoying  a  Summer  Breeze.  A  young  woman  in  thin  summer  gar¬ 
ments  that  are  thrown  off  above  her  waist  for  greater  coolness, 
seated  on  a  bench,  fanning  herself  and  looking  at  sparklers  she  is 
setting  off  in  a  small  koro  placed  by  her  side.  Behind  her  the 
branches  of  a  willow  tree  wave  in  a  strong  breeze.  Beni-e.  Signed, 
Hogetsudo  Okumura  Bunkaku  Masanobu. 

Size,  12xS%  inches.  Late  impression,  in  fine  condition  save  for  some 
small  moth  holes;  color  good.  See  illustration. 


25 


First  Afternoon 


22  A  Famous  Beauty.  Sotori-hime,  younger  sister  of  the  Empress  Osaka 
no  Onakatsu-hime,  wife  of  Inkyo-tenno  (412-453),  standing  in  a 
parlor,  holding  a  poem  slip  in  her  hand.  Middle  sheet  of  a  triptych 
entitled  “Waka  no  San  Jin,”  i.e.,  Poems  by  three  great  people. 
Beni-e.  Signed,  Hogetsudo  Okumura  Masanobu  sho-hitsu. 

Size,  x  5x/2  inches.  Good  impression,  in  fine  condition  except  f or 
the  fading  of  the  beni  which  now  shows  only  faintly.  See  illustration. 
Illustrated  also  on  Plate  XLI  of  the  V.-I .  Catalogue  of  “ Primitives .” 


No.  23 


UNKNOWN 

23  Street  Scene  in  the  Yoshiwara.  View  looking  down  the  Naka  no 
Cho,  the  main  street  of  the  licensed  quarter  as  it  was  about  1740. 
Large  hand-colored  print.  Not  signed,  but  it  is  probable  that  a 
signature  was  printed  upon  the  margin  at  the  right,  which  has 
been  trimmed  off.  In  the  V.-I.  Catalogue  of  Primitives,  where  it  is 
illustrated  on  Plate  XXX,  it  is  attributed  to  Okumura  Masanobu. 

Size,  17  x  25 inches.  Good  impression,  in  good  condition.  See 
illustration. 


First  Afternoon 


26 


24  Two  Actors  as  Manzai.  Manzai,  the  equivalent  of  banzai  (hurrah! 
long-life!)  is  a  term  used  to  designate  strolling  entertainers  at  New 
Year’s.  They  travelled  in  pairs.  One  of  them  made  jokes  and  witty 
sallies  while  the  other  played  upon  a  drum  called  a  tsuzumi,  and 
both  varied  the  entertainment  by  dancing.  Urushi-e.  Unsigned. 

Size,  liy^x  6  inches.  Fine  impression,  in  fine  condition. 


No.  25 


25  A  Dai-sho  Calendar  for  1747.  The  first  Onoe  Kikugoro  as  a  woman 
standing  in  a  parlor,  before  the  tokonoma,  holding  across  her 
shoulder  a  bamboo  branch  decorated  for  the  Tanabata  festival, 
seventh  day  of  the  seventh  month.  Instead  of  poems,  the  slips 
of  paper  attached  to  the  branch  bear  the  numerals  of  the  dai  and 
sho  (large  and  small  months)  of  the  hare  year  1747  and  the  names 
of  their  zodiac  signs.  Beni-e.  Not  signed. 


27 


First  Afternoon 


In  the  V.-I.  Catalogue  of  Primitives,  this  print  is  attributed  to 
Okumura  Masanobu.  The  drawing  and  treatment  are  quite  in 
his  style,  but  in  view  of  the  statement  made  by  him  on  the  print 
No.  20  in  this  collection,  that  his  signature  was  placed  upon  all 
prints  designed  by  him,  and  that  deceptive  imitations  of  his  prints 
were  being  offered  for  sale,  the  writer  of  this  catalogue  prefers  to 
leave  the  question  of  the  attribution  an  open  one,  noting,  however, 
that  this  print  was  probably  issued  several  months  earlier  than  the 
print  upon  which  the  warning  appeared.  The  inscription  “Teiget- 
sudo,”  or  “Jogetsudo” — it  may  be  read  either  way — that  appears 
near  the  foot  of  the  print  at  the  left,  is  perhaps  the  studio,  or  fancy 
name  of  a  follower  or  imitator  of  Masanobu;  or  it  may  be  the 
designation  of  a  society  for  the  members  of  which  the  print  was 
issued. 

Size,  11%  x  5%  inches.  Fine 
imression,  in  good  condition.  See 
illustration.  Illustrated  also  on 
Plate  XLI  of  the  V.-I.  Catalogue 
of  Primitives. 

26  Very  Truly  Yours.  Standing  figure 
of  a  woman,  drawn  in  outline 
with  free  brush  strokes,  those 
that  form  her  garments  making 
also  the  words  of  polite  phrases 
commonly  used  in  ending  let¬ 
ters.  Sumi-e.'  Unsigned. 

The  drawing  of  this  interest¬ 
ing  and  attractive  print  is  in 
some  respects  like  that  of  the 
first  Torii  Kiyonobu,  but  the 
writer  of  this  catalogue  hesi¬ 
tates  to  make  any  attribution. 

Size,  10%  x  5%  inches.  Fine 
impression,  in  fine  condition.  See 
illustration. 

From  the  collection  of  the  Vicomte 
de  Sartiges 


No.  26 


First  Afternoon 


28 


No.  27 


No.  28 


OKUMURA  TOSHINOBU 

Son  and  pupil  of  Okumura  Masanobu.  Worked  from  about  1725  to  1742. 

The  dates  of  his  birth  and  death  have  not  been  ascertained. 

27  Scene  from  a  Drama.  Sanjo  Kantaro  as  the  kosho  (page)  Kichisaburo, 
and  Segawa  Kikujiro  as  Yao-ya  0  Shichi,  in  the  drama  “Sho-Chiku- 
Bai  Nemoto  Soga.”  0  Shield  sits  in  a  second-story  window  of  her 
father’s  grocery,  and  her  lover,  who  has  come  to  serenade  her, 
stands  in  the  street  below.  The  date  of  the  performance  has 
not  been  learned,  but  it  is  probable  that  it  was  at  the  Naka¬ 
mura  theatre  in  1738.  Urushi-e.  Signed,  Okumura  Toshinobu 
fude. 

Size,  12  x  6  inches.  Fine  impression,  in  nearly  perfect  condition. 
See  illustration. 


29 


First  Afternoon 


No.  29  No.  30 

28  Scene  from  a  Drama.  The  first  Sawamura  Sojuro  as  a  samurai  stand¬ 

ing  just  within  the  great  gate  of  the  Yoshiwara,  holding  a  straw  hat 
and  looking  down  at  Sanjo  Kantaro  who  impersonates  a  courtesan 
seated,  holding  a  drawn  sword.  Urushi-e.  Date,  about  1735. 
Signed,  Yamato  gwa-ko  (Japanese  artist)  Okumura  Toshinobu  fude. 
Size,  11%  x  6  inches.  Fine  impression,  in  very  fine  condition. 

29  A  Puzzle  Picture.  An  owl  perched  upon  the  handle  of  a  hoe,  holding 

in  his  beak  a  pipe  and  a  tobacco  pouch.  A  farmer’s  bacho  kesa 
(straw  hat  with  bamboo-sheath  surface)  lies  on  the  ground,  and  six 
sparrows  (i.e.,  roppa,  or  six  birds)  flit  about  overhead.  The 
picture  is  a  rebus,  as  yet  unsolved.  Urushi-e.  Signed,  Yamato 
gwa-ko  Okumura  Toshinobu  fude. 

Size,  1 1  %  x  6%  inches.  Good  impression,  in  good  condition.  See  illus¬ 
tration.  Illustrated  also  on  Plate  LI  1 1  of  the  V.-I.  Catalogue  of  Primitives. 


First  Afternoon 


30 


NISHIMURA  SHIGENAGA 

Little  is  certainly  known  about  Shigenaga  save  that  he  kept  a  tea-house  in 
Tora  Abura  Cho  for  a  time,  and  later  established  himself  in  the  Kanda  district 
as  a  publisher;  and  that  he  was  the  master  under  whom  several  of  the  foremost 
artists  of  the  Ukiyoe  school  were  trained.  He  is  said  to  have  been  born  in  1697, 
and  to  have  died  in  1756. 

30  A  Pair  of  Ducks.  One  of  the  birds  stands  on  the  rocky  bank  of  a  winding 
river,  the  other  is  swimming  in  the  stream.  Urushi-e.  Not  signed. 

Size,  13}/gx6  inches.  Good  impression,  in  good  condition,  somewhat 
toned.  See  illustration,  p.  29. 


ISHIKAWA  TOYONOBU 

Pupil  of  Nishimura  Shigenaga.  Early  name  Magosaburo.  First  studio 
name  Nishimura  Shigenobu.  Later  used  the  names  Meijodo  Shuha,  Tanjodo, 
and  Ishikawa  Toyonobu.  Born  1711;  died  June  16,  1785. 

31  Young  Woman  Opening  an  Umbrella.  She  wears  a  kappa  (overcoat) 

having  a  pattern  of  ivy  leaves  and  tendrils.  Hand-colored  print. 
Signed,  Tanjodo  Ishikawa  Shuha  Toyonobu  zu.  Seals,  Ishikawa 
and  Toyonobu. 

Size,  27  x  6}/%  inches.  Fine  impression,  in  fine  condition,  save  for  a 
stain  near  the  girl's  head.  See  illustration. 

31a  The  First  Nakamura  Kumetaro  as  a  woman  hanging  a  kimono  on  a 
pole  to  air.  Above  is  an  ode  entitled  “Saifu  no  Rakugan”  (The 
Alighting  Geese  of  a  Purse). 

Upon  me  fall  the  glittering  dews 
Even  as  on  the  alighting  geese. 

Small  three-color  print.  Signed,  Ishikawa  Toyonobu  fude. 

Size,  10 1-2  x  2"/%  inches.  Good  impression,  in  poor  condition. 

32  Mizuki  Tatsu-no-suke,  an  actor  from  Kyoto  who  came  to  Edo  in 

December  1758  for  a  short  time  only  and  played  at  the  Nakamura 
theatre.  He  is  here  represented  in  the  role  of  Nuregami  no  Koman. 
Three-color  print.  Signed,  Ishikawa  Toyonobu  fude. 

Size,  15 %  x  6 Yi  inches.  Good  impression,  condition  only  fair,  some¬ 
what  stained  and  moth-eaten,  but  fine  in  color. 


No.  31 


First  Afternoon 


32 


33  Two  Girls  Struggling  for  a  Theatre  Programme  while  seated  on  a 
bench  by  a  winding  stream.  Beni-e.  Signed  Ishikawa  Toyonobu 
fude. 

Size,  12fix5%  inches.  Good  impression,  in  good  condition.  See 
illustration.  Illustrated  also  on  Plate  XLVIII  of  the  V.-I.  Catalogue  of 
Primitives. 


No.  33 


34  Two  Popular  Actors.  The  First  Nakamura  Kumetaro  as  a  youth 
carrying  on  his  back  a  girl  impersonated  by  the  first  Sanogawa 
Ichimatsu.  These  actors  were  in  the  company  at  Nakamura-za 
in  1750.  Beni-e.  Signed,  Meijodo  Ishikawa  Shuha  Toyonobu 
fude. 

Large  oban.  Size,  17  x  12fi  inches.  Good  impression,  in  good  on- 
dition. 


33 


First  Afternoon 


TORII  KIYONOBU  II 

A  pupil  of  Kiyonobu  I  concerning  whom  little  is  definitely  known  save  that 
he  worked  from  about  1730  until  about  1758.  Although  the  excellence  of  the 
prints  designed  by  him  clearly  shows  that  he  was  a  worthy  successor  of  the  first 
Kiyonobu  the  fact  that  he  is  not  mentioned  in  the  Torii  family  records  indicates 
that  his  assumption  of  the  Kiyonobu  name  was  not  authorized  by  Kiyomasu 
who,  after  the  death  of  his  father  in  1729,  became  the  head  of  the  family  and  of 
the  Torii  line  of  artists. 

35  Scene  from  a  Drama.  The  second  Ichikawa  Danjuro  (then  known  as 
Ichikawa  Ebizo)  as  Watanabe  Minbu;  the  first  Segawa  Kikunojo 
as  0  Some;  and  the  first  Sanogawa  Ichimatsu  as  Hisamatsu. 
Date  probably  1745  or  1746  when  the  three  actors  were  playing 
together  in  the  company  at  Nakamura-za.  Beni-e.  Signed,  Torii 
Kiyonobu  fude. 

Size,  11%  x  5%  inches.  Fine  impression,  faded  and  slightly  toned. 


TORII  KIYOMITSU 

Second  son  of  Kiyomasu ,  and  third  head  of  the  Torii  line.  Born  1735; 
died  May  11,  1785. 

36  Matsumoto  Shichizo  in  the  role  of  Konami,  daughter  of  Honzo.  This 

was  probably  in  the  drama  “Kanadehon  Chushingura”  at  Naka¬ 
mura-za  in  June  1765,  when  he  also  appeared  as  Yuranosuke.  In 
December  of  that  jmar  he  became  the  fourth  Iwai  Hanshiro. 
Three-color  print.  Signed,  Torii  Kiyomitsu  gwa. 

Size,  11%  x  5 %  inches.  Late  impression,  good  condition. 

From  the  Vicomte  de  Sartiges  collection 

37  The  Second  Segawa  Kikunojo  as  the  tea-house  waitress  0  Nui,  in“Ono 

no  Tofu  Aoyagi  Suzuri,”  at  Nakamura-za,  autumn  of  1758.  Beni-e. 
Signed,  Torii  Kiyomitsu  gwa. 

Size,  12  x  5%  inches.  Late  impression,  in  good  condition. 

From  the  Vicomte  de  Sartiges  collection 

38  The  Second  Segawa  Kikunojo  in  the  role  of  Onoe  no  Mae,  daughter 

of  Abe  no  Sadato.  Three-color  print.  Signed,  Torii  Kiyomitsu  fude . 
Size,  12x5%  inches.  Good  impression,  in  very  fine  condition. 


First  Afternoon 


34 


39  The  Second  Bando  Hikosaburo  as  Soga  no  Juro,  standing  under  a 
willow  tree.  Drama,  “Sakimasu  Hana  Aioi  Soga,”  performed  at 
the  Ichimura  theatre  from  March  21,  1766.  Beni-e.  Signed, 
Torii  Kiyomitsu  fade. 

Size,  12)4:X5l/2  inches.  Fine  impression,  condition  almost  perfect. 
See  illustration. 


No.  39 


No.  40 


40  The  First  Sanogawa  Ichimatsu  in  the  role  of  Momozono,  a  young 
woman  dressed  in  garments  of  rich  brocade  and  holding  a  sheathed 
sword.  Beni-e.  Signed,  Torii  Kiyomitsu  fude. 

Size,  1 1 1/s  x  -55/s  inches.  Good  impression,  in  beautiful  condition,  the 
beni  softly  faded.  See  illustration. 

From  the  Vicomte  de  Sartiges  collection 


35 


First  Afternoon 


41  The  Second  Bando  Hikosaburo  as  Sanada  no  Yoichi  in  “Ume-ya 
Suisen  Izu  no  Irifune”  at  Morita-za,  December  1763.  Three-color 
print.  Signed,  Torii  Kiyomitsu  gwa. 

Size,  12  x  5l/i>  inches.  Good  impression,  in  very  fine  condition.  See 
illustration. 


No.  41 


No.  42 


42  The  First  Onoe  Kikugoro  as  Soga  no  Taro  Sukenobu  the  gyoji  (um¬ 
pire  in  a  wrestling  match)  in  “Ume-ya  Suisen  Izu  no  Irifune”  at 
Moritaza,  December  1763.  Three-color  print.  Signed,  Torii 
Kiyomitsu-zu. 

Size,  l-F/s  x  6' 2 4  inches.  Fine  impression,  in  very  fine  condition.  See 
illustration. 


First  Afternoon 


36 


43  Three  Women  Musicians.  Seated  in  the  middle  of  a  large  room  a  lady 
is  playing  a  koto;  at  the  right  and  left  two  young  women  are 
accompanying  her  on  a  kokyu  and  a  samisen.  Three-color  print. 
Signed,  Torii  Kiyomitsu  gwa  in  three  places  so  it  might,  if  desired, 
be  cut  into  three  hoso-e  prints. 

Size,  llJixW'A  inches.  Fine  impression,  in  very  fine  condition  save 
for  a  few  moth  holes.  See  illustration.  Illustrated  also  on  Plate  LVI  of 
the  V.-I.  Catalogue  of  Primitives. 


No.  43 


44  The  Second  Bando  Hikosaburo  in  the  role  of  Kudo  Kinseki-maru,  the 

gyoji.  Kiyomitsu  drew  many  portraits  of  this  promising  young 
actor  who  died  in  1768  in  his  twenty-eighth  year.  Print  in  Indian 
red,  blue,  and  black.  Signed,  Torii  Kiyomitsu  gwa. 

Size,  11%  x  5%  inches.  Late  impression,  trimmed  about  a  half  inch 
at  the  foot. 

45  Scene  from  a  Drama.  The  first  Nakamura  Sukegoro  as  Sakata  no 

Kintoki,  and  the  second  Segawa  Kikunojo  as  Fujitsubo,  a  woman 


37 


First  Afternoon 


toy-vendor,  in  “Hana  no  0  Edo  Chichibu  Junrei,”  at  Ichimura-za, 
autumn  of  1762.  Three-color  print.  Signed,  Torii  Kiyomitsu  gwa. 

Size,  12}fi  x  5x/i  inches.  Fine  impression,  in  very  fine  condition. 

46  Sugawara  no  Michizane  mounted  on  a  carabao  ox  led  by  an  aged 
attendant,  under  a  blossoming  plum  tree  at  sunrise  on  New  Year’s 
morning.  Mizu-e  (water  print)  in  pale  blue  (now  faded  to  a  neutral 
tint),  beni,  and  olive  green.  Signed,  Torii  Kiyomitsu  gwa. 

Size,  12  A  x  5]fi  inches.  Fine  impression,  in  good  condition  save  for 
the  fading  of  the  blue  pigment. 


TORII  KIYOHIRO 

Pupil  of  Kiyomasu.  Date  of  birth  unknown;  said  to  have  died  in  1776. 

47  Young  Woman  Holding  a  Cat.  Probably  a  portrait  of  the  second 

Segawa  Kikunojo.  This  is  indicated  by  the  peculiar  hair  ornaments 
and  by  the  wreath  of  flowers  and  a  butterfly  at  the  top  of  the  print, 
the  butterfly  being  Kikunojo’s  kai-mon  or  personal  badge.  Printed 
in  beni  and  blue.  Signed,  Torii  Iviyohiro  fude. 

Size,  11 A  x  5%  inches.  Good  impression,  in  good  condition. 

48  Waiting  for  Winter  to  Pass.  Two  young  women  in  a  parlor;  one  taking 

a  book  from  a  box  on  a  shelf,  the  other  lying  upon  the  floor  with  a 
volume  open  before  her.  In  characters  scattered  over  the  back¬ 
ground  is  a  short  ode  upon  the  tediousness  of  winter  occupations. 
Beni-e  in  beni  and  blue.  Signed,  Torii  Kiyohiro  fude. 

Size,  12}i  x5%  inches.  Good  impression,  in  good  condition.  Il¬ 
lustrated  on  Plate  LXIII  of  the  V-I.  Catalogue  of  Primitives. 


TORII  KIYOTSUNE 

Pupil  of  Kiyomitsu.  Dates  of  birth  and  death  not  known.  Worked  about 
1764—1775. 

49  Scene  from  a  Drama.  Onoe  Tamizo  as  a  woman  lying  in  her  bed  and 
reading  a  letter,  one  end  of  which  is  held  by  a  man,  impersonated 
by  the  second  Nakamura  Sukegoro,  who  stands  behind  a  screen  that 
entirely  conceals  his  face.  Signed,  Kiyotsune  gwa. 

Size,  11 A  %  5  A  inches.  Good  impression,  the  colors  much  faded. 


First  Afternoon 


38 


SUZUKI  HARUNOBU 

Pupil  of  Nishimura  Shigenaga.  Born  about  1730;  died  July  7,  1770. 

50  Tadamori  and  the  Lamplighter  of  Gion.  This  print  is  an  illustration 

of  a  famous  story.  On  a  dark  night  when  it  was  raining  hard, 
Shirakawa  no  In,  a  noble  related  to  the  Emperor,  went  to  visit  his 
mistress  who  lived  in  Gion  wood.  As  his  attendants  waited  for 
him  they  were  startled  by  the  apparition  of  a  creature  flitting 
through  the  wood.  Its  hair  stuck  out  like  needles  and  it  carried 
a  bright  light  in  one  hand  and  what  appeared  to  be  a  wooden 
mallet  in  the  other.  When  Shirakawa  was  told  about  this  he 
ordered  Taira  no  Tadamori  to  capture  the  strange  creature,  which 
he  did,  but  it  proved  to  be  only  an  old  shicho,  or  attendant  at 
the  Gion  shrine,  wearing  a  very  dilapidated  straw  hat,  and  going 
about  filling  the  lanterns  with  oil  and  lighting  them.  Mizu-e  (so- 
called  water  print).  Signed,  Harunobu  gwa. 

Size,  1 1%  x  5%  inches.  Fine  impression,  in  remarkably  fine  con¬ 
dition  . 

From  the  Vicomte  de  Sartiges  collection 

51  A  Japanese  Moso.  Moso  is  the  Japanese  pronunciation  of  Meng 

Tsung,  a  Chinese  of  the  third  century  whose  devotion  to  his  aged 
mother  caused  him  to  go,  weeping,  to  a  bamboo  grove  when, 
in  the  depth  of  winter,  she  had  expressed  a  craving  for  a  soup 
made  from  succulent  young  shoots.  There,  to  his  surprise  and 
delight,  several  fine  shoots  appeared  before  him,  bursting  through 
the  frozen  ground  and  its  mantle  of  snow.  Series:  Ni-ju  Shi  Ko, 
i.e.,  “Twenty-four  Paragons  of  Filial  Piety.”  Mizu-e.  Not 
signed. 

Size,  11  x  5^  g  inches.  Fine  impression,  in  fine  condition  despite  the 
fading  of  the  blue. 

From  the  Vicomte  de  Sartiges  collection 

52  Two  White  Hares  by  a  hagi  bush  on  the  bank  of  a  stream  on  a  moon¬ 

light  night.  Mizu-e.  Not  signed. 

Size,  13  x6  inches.  Fine  impression,  in  poor  condition,  faded  and 
several  holes  have  been  patched,  not  very  skilfully. 

From  the  Vicomte  de  Sartiges  collection 


39 


First  Afternoon 


53  Hitomaro  at  Akashi  Beach.  Illustration  of  a  poem  by  Kakimoto  no 
Hitomaro  who  is  represented  standing  upon  the  sands  at  Akashi  at 
sunrise.  Mizu-e.  Signed,  Harunobu  gwa. 

Size,  12]/ 8  x  5]4  inches.  Fine  impression,  faded,  hut  in  good  condition 
otherwise. 


No.  54 


54  An  Onna  Urashima  Taro.  Here,  instead  of  the  old  fisherman  of  the 
popular  legend,  Harunobu  depicts  a  young  woman  with  a  fishing  rod 
held  across  her  shoulder  being  carried  away  to  the  Ryu-gu,  or  palace 
of  the  Dragon  King  of  the  Sea,  mounted  on  the  back  of  a  Minogame, 
or  ancient  tortoise,  with  its  back  overgrown  with  sea-weeds  that 
trail  behind  like  a  hairy  tail.  Not  signed.  Second  state.  In  the 
first  state  the  print  is  a  Dai-sho  calendar  for  1765.  This  is  a  re-issue 
with  the  calenclric  numerals  removed,  and  printed  in  different 
colors.  An  impression  of  the  first  state,  formerly  owned  by  the 
writer  of  this  catalogue,  is  now  in  the  collection  of  William  S.  and 
John  T.  Spaulding. 

Size,  7 %  x  10  inches.  Fine  impression,  slightly  trimmed  down,  other¬ 
wise  in  good  condition.  See  illustration . 


First  Afternoon 


40 


No.  55 


55  Nurioke  no  Bosetsu.  “Evening  snow  on  the  nurioke.”  This  is 
Harunobu’s  title  for  the  picture  though  it  does  not  appear  upon 
the  print  and  only  upon  the  wrapper  in  which  the  series,  “Zashiki 
Hakkei,”  i.e.,  Eight  Parlor  Views,  was  enclosed.  A  youth  and  a 
girl  are  shown  seated  in  a  parlor  making  floss  silk  into  wadding  and 
drying  the  sheets  upon  small  dome-shaped  furnaces  called  nurioke. 
Not  signed. 

Note. — None  of  the  early  impressions  of  the  prints  of  this  series 
were  signed  by  Harunobu,  but  his  name  was  printed  upon  the 
wrapper  of  the  packets  issued  by  the  Shokakudo  publishing  house 
in  Yokoyama  cho.  Some  sets,  however,  were  distributed  by 
Kyosen.  One  of  these,  including  the  wrapper,  is  in  the  collection 
of  Alexander  Mosle  of  Leipzig.  The  prints  are  reproduced  in  the 


41 


First  Afternoon 


illustrated  catalogue  of  selections  from  his  collection  published 
in  June  1914.  Each  print  and  also  the  wrapper  is  inscribed 
“Kyosen.” 

Size,  10%  x  8  inches.  Good  impression  in  good,  though  not  immacu¬ 
late,  condition.  See  illustration. 

56  A  Dai-Sho  Calendar  for  1765.  An  oiran  standing  in  a  parlor  looking 

down  at  a  diminutive  manikin  who  is  covered  with  a  towel  and 
is  running  off  with  an  inro  and  a  money  purse.  The  numerals  of 
the  “small  months”  of  the  year  1765  are  worked  into  the  pattern 
on  the  woman’s  obi.  Not  signed. 

Size,  11  x?'f 8  inches.  Fine  impression,  in  poor  condition. 

From  the  Vicomte  de  Sartiges  collection 

57  A  Woman  Fan  Vendor.  She  carries  a  tall  case  of  boxes  strapped  to 

her  back,  and  turns  to  offer  some  of  her  wares  to  two  bokudo 
(herd  boys)  who  are  on  foot  and  carry  their  baskets  upon  then- 
backs.  Dai-sho  calendar  for  1765.  The  name  of  the  year  and 
its  eto,  or  designation  according  to  the  sexagenary  cycle,  orna¬ 
ment  the  kimono  of  one  of  the  boys.  The  numerals  for  the  slid, 
or  small  months,  appear  upon  the  woman’s  obi.  It  is  not 
signed  by  the  artist,  but  is  inscribed  “Kyosen  Ren,”  which  is 
undoubtedly  the  name  of  the  Dai-sho  society  for  the  members 
of  which  the  print  was  made.  It  is  also  inscribed  “Choko  (en¬ 
graver)  Mori  no  Sogyoku,”  and  “Shibafusa  ko.”  As  the  char¬ 
acter  used  for  “ko”  signifies  “made,”  there  has  been  considerable 
doubt  as  to  the  precise  meaning  that  should  be  attached  to  it  when 
appended  to  names  placed  upon  calendar  prints  for  1765  or  1766. 
Here  it  hardly  seems  possible  to  question  that  it  indicates  the 
printer. 

Size,  10%  %  7%  inches.  Fine  impression,  in  poor  condition. 

From  the  Vicomte  de  Sartiges  collection 

58  A  Young  Woman  in  thin  summer  garments  seated  on  a  wooden 

bench  on  the  bank  of  a  river.  Left-hand  sheet  of  a  diptych. 
Not  signed. 

Size,  11x8  inches.  Fine  impression,  in  poor  condition,  soiled. 


First  Afternoon 


42 


No.  59 

KOMATSUKEN 

Komatsuken  ivas  one  of  the  brush  names  of  an  artist  named  Sanuemon 
who  was  the  proprietor  of  the  Komatsu-ya  drug  shop  in  Iida  Machi.  It  is 
probable  that  he  is  identical  with  the  artist  who  signed  as  Tomikawa  Fusanobu. 
So  far  as  known ,  the  prints  that  he  designed  were  all  Dai-sho  calendars  for 
1765  or  1766. 

59  Rosei’s  Dream.  The  Chinese  legend  that  this  print  illustrates,  has 
many  versions.  These  differ,  however,  only  in  details.  It  is  said 
that  in  the  year  A.  D.  702  a  Taoist  sage  stopped  for  refreshment 
at  an  inn,  and,  while  waiting  for  some  millet-porridge  to  be  cooked 
he  listened  to  the  plaint  of  a  lad  named  Lu  Sheng  (known  to  the 
Japanese  as  Rosei)  who  bitterly  resented  his  humble  lot.  The 
sage  then  handed  him  a  pillow  and  bade  him  rest  his  head  upon  it. 


43 


First  Afternoon 


He  did  so  and  instantly  fell  asleep  to  dream  that  he  had  gained  the 
highest  honors  at  the  public  examinations,  had  acquired  great 
wealth,  and  had  become  a  Minister  of  State.  Then  he  awakened 
to  find  that  the  porridge  was  not  yet  fully  cooked,  and,  turning  to 
the  sage,  he  thanked  him  for  thus  showing  him  the  transitory 
character  of  earthly  possessions. 

This  print  is  a  Dai-sho  calendar  for  1765.  The  numerals  for  the 
dai,  or  large  months,  form  the  caligraphic  outlines  of  Rosei’s  red 
robe;  those  for  the  sho,  or  small  months,  appear  as  shading  upon  the 
roof  of  the  canopy  over  his  bed.  Signed,  Komatsuken  gwa,  and, 
at  the  left,  by  the  printer  Seiichitei,  Niju  ko.  Seal:  Sei-ko.  The 
reading  “Niju”  is  not  free  from  doubt. 

Size,  11x7)4:  inches.  Fine  impression,  in  perfect  condition.  See 
illustration. 


TANAKA  MASUNOBU 

Nothing  is  certainly  known  about  this  artist’s  life.  He  worked  from  about 
1730  to  about  1770.  His  early  prints  are  in  the  style  of  the  Torii  artists  and  that 
of  Okumura  M asanobu;  in  his  later  ones  he  followed  the  style  of  Harunobu. 

60  The  Persimmon  Picker.  A  young  woman  standing  on  a  veranda  rests 
one  foot  on  the  chozubachi  and  reaches  up  to  pluck  a  ripe  persimmon 
for  her  pet  monkey  that  clings  to  her  skirts  and  eagerly  awaits  the 
delicious  fruit.  Signed,  Masunobu  gwa. 

Hashira-e.  Size,  26%  x  4V2  inches.  Fine  impression,  in  fair  con¬ 
dition. 


UNKNOWN 

61  An  Heroic  Feat.  Onamuchi  no  Mikoto  killing  the  0  tori,  i.e.,  “the 
great  bird,”  a  gigantic  eagle,  on  a  cliff  by  the  sea.  Onamuchi, 
known  also  as  Okuninushi,  and  by  various  other  appellations, 
is  a  legendary  hero  named  in  the  early  chronicles,  and  said  to 
have  been  a  son  of  Susano-o,  who  is  deified  as  the  Shinto  god  of 
the  sea. 

Dai-sho  calendar  for  1765.  The  numerals  for  the  large  months 
of  that  year  are  inscribed  upon  the  warrior’s  leather  girdle.  Not 
signed. 


First  Afternoon 


44 


No.  61 


Size,  9 ys  %  12  Ys  inches.  Fine  impression,  in  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  XXXV  of  the  V.-I .  “Harunobu, 
Koriusai,  Shunsho”  Catalogue. 


ISODA  KORYUSAI 

Pupil  of  Shigenaga,  then  of  Harunobu.  Was  of  samurai  rank.  Personal 
name  I  soda  Masakatsu.  Earliest  studio  name  Haruhiro.  Dates  of  birth  and 
death  not  known.  Worked  as  a  print  designer  from  1768  to  1786,  though  he 
did  not  design  many  after  1780. 

62  The  Pet  Monkey.  A  woman  running  about  a  room  and  playing  with 

a  monkey  that  lies  on  its  back  on  the  floor  and  clings  to  her  skirt. 

Signed,  Koryusai  gwa. 

Hashira-e.  Size,  26  Ys  x  YYs  inches.  Fine  impression,  in  fair  condition. 

63  The  Real  Jo  and  Uba.  In  place  of  the  mythical  old  man  and  woman, 

the  spirits  of  the  pine  trees  of  Sumiyoshi  and  Takasago,  a  young 


45 


First  Afternoon 


man  is  depicted  standing  close  to  a  large  pine,  holding  a  besom,  and, 
on  the  other  side  of  the  tree,  a  young  woman  holding  a  rake. 
Signed,  Koryu  gwa. 

Hashira-e.  Size,  26%  x  5  inches.  Good  impression,  in  fair  con¬ 
dition. 

64  Ebisu  Catching  a  Tai.  A  young  woman  stands  in  a  boat  beside  the 

Fortune  God  who  bends  over  to  haul  in  a  large  fish  that  he  has 
hooked.  Not  signed. 

Hashira-e.  Size,  27 1%  x  Jfi4  inches.  Fine  impression,  in  good  con¬ 
dition. 

65  Fumizuki.  The  seventh  month.  An  oiran  seated  on  a  veranda  in 

early  morning,  a  tooth  brush  in  her  hand,  and  a  shinzo  bringing 
her  water  in  a  shallow  basin.  Morning  glories  are  in  bloom  on 
the  sleeve  fence  before  her.  Series:  Fiiryu  Ju-ni  Ki  no 
Hana,  i.e.,  “Fanciful  Flowers  of  the  Twelve  Seasons.”  Signed, 
Koryusai  gwa. 

Size,  10%  x  7%  inches.  Fine  impression,  in  fine  condition. 

66  The  Sound  of  the  Breeze.  Two  young  women,  one  seated  on  a 

veranda,  the  other  standing  before  her.  Beyond  the  sleeve  fence 
is  a  winding  stream,  and  an  ode  above  says  the  breeze  makes  the 
ripples  audible.  Signed,  Koryu  gwa. 

Size,  10  x  7%  inches.  Fine  impression,  in  good  condition. 

67  The  Flower-Hat  Dance.  The  geisha  Kamekichi,  Menami, and  Hitoura 

of  Daimonji-ya  dancing  with  flower-decorated  hats  on  their  heads 
and  in  their  hands,  in  a  festival  procession,  in  the  year  1777.  Series: 
Seiro  Niwaka  Kyogen,  i.e.,  “Fanciful  Plays  of  the  Green  Houses.” 
Signed,  Koryusai  gwa. 

Size,  9%  x  7}i  inches.  Fine  impression,  condition  and  color  also 
fine. 

68  Washi  no  Bansho.  “The  Vesper  Bell  of  the  Eagle.”  A  jmuth  seated 

before  a  tsuitate  on  which  he  has  painted  a  picture  of  an  eagle.  A 
young  woman  stands  by  his  side  admiring  the  painting  and 
calling  his  attention  to  the  sound  of  the  evening  bell.  Series: 
Meicho  Zashiki  Hakkei,  i.e.,  “Eight  Parlor  Views  of  Birds.” 
Signed,  Koryu  gwa. 

Size,  10 %  x  7%  inches.  Fine  impression;  faded. 


First  Afternoon 


46 


TORII  KIYONAGA 

Pupil  of  Kiyomitsu  whom  he  succeeded  as  the  fourth  head  of  the  Torii  line. 
Born  1752;  died  1813. 


No.  69 


69  Cooling  Off  at  Nakasu.  A  young  man  in  black  and  two  tayu  with  their 
kamuro  (girl  attendants)  at  a  party  in  a  tea-house  on  the  shore  of 
Edo  bay  in  the  Nakasu  district.  Right-hand  sheet  of  a  diptych. 
Series:  Tosei  Yuri  Bijin  Awase.  Signed,  Kiyonaga  gwa. 

Size,  15%  x  9%  inches.  Fine  impression.  Trimmed  from  15  x10 
inches,  otherwise  in  very  fine  condition.  See  illustration. 


47 


First  Afternoon 


No.  70 


70  The  Third  Month:  Viewing  Cherry  Blossoms  at  Gotenyama.  Two 

parties  of  geisha,  each  accompanied  by  a  matron,  strolling  about 
under  the  trees.  With  the  right-hand  group  is  a  taikomochi  or 
professional  jester.  Series:  Minami  Ju-ni  Ko,  i.e.,  “The  Twelve 
Months  in  the  South,”  that  is  to  say,  in  Shinagawa.  This  is  the 
famous  series  of  diptychs  that  are  among  Kiyonaga's  finest  works. 
Signed,  Kiyonaga  gwa. 

Size,  L'AA  x  19]f  inches.  Good  impression,  in  fair  condition,  though 
slightly  trimmed  down.  See  illustration. 


MITSU  NO  ASA 

“The  Three  Mornings  of  the  New  Year  Holidays .”  Six  of  the  set  of  eight 
prints  published  on  or  about  New  Year's  day  in  Tenmei  7,  i.e.,  February  18, 
1 787.  They  were  issued  in  a  packet,  and  also  in  an  album,  with  a  sui-jo  ( literally 
an  “ intoxicated  preface ”)  by  Tsurutayu,  in  which  it  is  stated  that  Kiyonaga 
made  the  designs  at  the  special  request  of  Nishimura  Yohachi,  the  proprietor 


First  Afternoon 


48 


of  the  Eijudo  print  shop.  Only  the  sheet  depicting  that  shop  ( which  is  not  in¬ 
cluded  in  this  collection )  was  signed. 

71  The  First  Bath  in  the  New  Year.  A  woman  going  to  the  bath 

room;  another,  who  has  come  from  it,  seated,  drying  her  cheek 
with  the  sleeve  of  her  bath  robe;  and,  in  the  foreground  a  girl 
playing  mairi  (bouncing  ball),  and  an  older  girl  having  her  hair 
dressed. 

Size,  914x14/4  inches.  Good  impression.  Trimmed  from  10x1544 
inches;  otherwise  in  good  condition. 

72  First  Archery  Practice  of  the  Year.  Young  nobles  trying  their  skill 

at  the  archery  practice  ground. 

Size,  94 s  x  1444  inches.  Good  impression  and  condition,  but  trimmed 
down. 

73  The  First  Writing  in  the  New  Year.  Court  ladies  on  the  veranda  of  a 

palace,  writing  poems. 

Size,  9]4  x  1444  inches.  Good  impression  and  condition,  but  trimmed 
down. 

74  The  First  Horseback  Ride  in  the  New  Year.  A  young  samurai  on  a 

dappled  gray  horse  passing  the  house  where  the  members  of  his 
family  and  servants  are  seated. 

Size,  944  x  1444  inches.  Ordinary  impression.  Trimmed  down; 
otherwise  in  fair  condition. 

75  Making  New  Year’s  Calls.  Women  of  the  Yoshiwara  calling  upon 

their  sisters  in  the  licensed  quarter. 

Size,  944  x  1544  inches.  Good  impression,  in  fair  condition. 

76  The  Merchant’s  New  Year.  He  sits  in  the  corner  room  of  his  house 

and  is  displaying  a  new  ledger  marked  with  the  Eto  of  the  year 
1787  to  two  young  people  who  are  seated  beside  him.  In  the 
garden  in  the  foreground  two  women,  one  of  whom  holds  an 
infant,  watch  two  girls  play  hanetsuki  (battledore  and  shuttle¬ 
cock). 

Size,  944  x  1444  inches.  Ordinary  impression.  Trimmed  down; 
otherwise  in  good  condition. 


49 


First  Afternoon 


UTAGAWA  TOYOHARU 

Founder  of  the  Utagawa  line.  Personal  name  Utagawa  Masaki.  Common 
name  Shojiro,  later  changed  to  Shinzaemon.  Pupil  of  Toriyama  Sekiyen 
( Toyofusa ).  Born  1734;  died  February  1814 ■  He  made  a  special  study  of 
linear  perspective  and  designed  many  ukiye,  or  perspective  pictures,  seven  of 
which  are  here  listed. 

77  A  Shinto  Ceremony  at  Itsukushima.  Picture  of  the  autumn  festival 

in  the  “old  room”  at  the  Benten  shrine.  The  buildings  depicted 
are  not  now  in  existence.  Signed,  Utagawa  Toyoharu  gwa. 

Size,  9%  x  15  inches.  Ordinary  impression,  in  fine  condition. 

78  Shin  Yoshiwara  Naka  no  Cho.  Night  view  looking  down  the  middle 

street  of  the  Yoshiwara  through  the  great  gate  and  along  the  road 
on  the  Nippon  embankment.  Signed,  Utagawa  Toyoharu  gwa. 
Size,  9fis  x  14 Vs  inches  Late  impression,  good  condition. 

79  The  Battle  of  Ichi-no-tani.  Yoshitsune  leading  the  Minamoto  cavalry 

down  the  steep  hillside  to  attack  the  citadel  in  the  rear,  and  the 
panic-stricken  Taira  warriors  fleeing  to  their  boats.  Not  signed, 
but  the  signature  undoubtedly  was  upon  the  margin  at  the  right 
which  has  been  trimmed  off. 

Size,  9 kg  x  13  inches.  Ordinary  impression.  Trimmed  down;  other¬ 
wise  in  good  condition. 

80  The  Rice  Market  at  Nihon  Bashi.  View  through  the  gate,  down  the 

busy  street  with  a  row  of  warehouses  on  the  left  and  a  long  building 
containing  dealers’  stalls  on  the  right.  Beside  the  gate  in  the 
foreground  is  an  Inspector’s  office.  Not  signed;  signature  doubt¬ 
less  on  the  right-hand  margin  which  has  been  trimmed  off. 

Size,  8%  x  1 2 }4  inches.  Late  impression,  fair  condition. 

81  Edo  Meisho  Shin  Yoshiwara.  View  of  the  crowded  middle  street  of 

the  quarter  looking  in  through  the  great  gate.  Signed,  Utagawa 
Toyoharu  gwa. 

Size,  8%  x  12%  inches.  Late  impression,  in  very  nice  condition. 

82  Shin  Yoshiwara  Yugure  no  Zu.  Twilight  in  the  Yoshiwara.  View 

looking  in  through  the  great  gate.  Signed,  Utagawa  Toyoharu  gwa. 
Size,  10x15  inches.  Good  impression;  fine  condition  and  color. 


First  Afternoon 


50 


83  The  Seventh  Act  of  Chushingura.  View  of  the  Ichimonji-ya  seiro  in 
the  Gion  quarter  in  Kyoto.  Several  of  the  scenes  are  depicted, 
being  combined  in  one  picture,  a  not  uncommon  device  of  Japanese 
artists  to  show  events  that  occurred  in  sequence,  as  in  this  instance, 
where  at  the  right  Yuranosuke  lets  the  end  of  the  Lady  Kaoyo’s 
letter  drop  so  that  the  spy  Kudayu  can  read  it,  while  he  talks  to 
0  Karu  seated  above;  then  in  the  foreground  in  the  middle,  Heiemon 
is  shown  slashing  Kudayu  with  a  rusty  sword  while  Yuranosuke 
holds  him  by  clutching  his  hair;  and  at  the  left  Rikiva  is  shown 
returning  to  Yamashina,  and  Kudayu’s  kago  stands  in  waiting  for 
him.  Signed,  Utagawa  Toyoharu  gwa. 

Size,  9  Wz  x  1  J  34  inches.  Good  impression,  in  good  condition. 


HOSODA  EISHI 

Pupil  of  Kano  Eisen,  and  of  an  artist  named  Bunryusai.  Was  of 
samurai  rank.  Real  name  Hosocla  Jibukyo  Fujiwara  no  Tokitomi.  Be¬ 
sides  the  studio  name  Eishi  he  sometimes  signed  Chobunsai.  Born  1756; 
died  August  1,  1829.  Worked  as  a  print  designer  from  about  1788  to  about 
1800. 


84  Matsukaze  no  Ya-u.  Matsukaze  and  night  rain.  A  woman  seated 

by  a  koto,  and,  behind  her,  another  woman  rolling  up  a  curtain. 
Series:  Ukiyo  Gen.ji  Hakkei,  i.e.,  “Eight  Popularized  Scenes  from 
the  Genji  Monogatari.”  Signed,  Eishi-zu. 

Size,  If  A  x  9hA  inches.  Fine  impression,  in  fair  condition ;  small 
pieces  torn  from  both  corners  at  the  right. 

85  Fair  Temple  Visitors.  A  group  of  women  and  children  in  the  precinct 

of  Kinryusan  Buddhist  Temple.  Signed,  Eishi  gwa. 

Triptych.  Size,  lfA  x  28%  inches.  Good  impression,  in  good  con¬ 
dition. 

86  Cooling  Off  on  the  River.  A  party  of  women  in  a  great  pleasure  boat 

on  the  Sumida,  and  a  smaller  boat  coming  into  view  at  the  left. 
Signed,  Eishi  zu. 

Pentaptych.  Size,  Iffs  x  4  9  inches.  Good  impression,  in  very  good 
condition. 


51 


First  Afternoon 


87  A  Popular  Beauty.  Large  head  and  bust  portrait  of  Hinazuru  of 
Choji-ya.  Signed,  Eishi  zu. 

Size,  14/i  x  9%  inches.  Fine  impression,  in  good  condition,  slightly 
but  very  beautifully  toned. 


ICHIRAKUTEI  EISUI 

Pupil  of  Eishi.  Worked  in  the  Kwansei  period.  Nothing  is  known  about 
his  biography. 

88  Somenosuke  of  Matsuba-ya.  Large  head  and  bust  portrait  of  the 
tayu,  who  is  admiring  a  large  red  peony  that  she  holds  with  both 
hands.  Signed,  Eisui  gwa. 

Size,  14lA  x  10l/f  inches.  N  Fine  impression,  in  fine  condition. 


No.  89 


53 


First  Afternoon 


KITAGAWA  UTAMARO 

Pupil  of  Toriyama  Sekiyen.  Earliest  studio  name  Toriyama  Toyoaki. 
His  personal  name  was  Yusuke,  and  it  is  probable  that  Kitagawa  was  his 
family  name,  as  it  is  given  in  his  burial  record.  Born  in  1753;  died  October 
1806. 

89  Utamaro’s  Self-portrait.  This  is  introduced  in  a  scene  from  Chushin- 

gura.  Instead  of  depicting  Yuranosuke,  the  leader  of  the  Forty- 
seven  Loyal  Ronin  apparently  leading  a  dissolute  life  at  Ichimonji- 
ya,in  this  print  Utamaro  represents  himself  in  Yuranosuke’s  place, 
displaying  his  "conceited  face,”  "by  request,”  but,  as  the  artist 
is  reputed  to  have  had  a  far  from  beautiful  face,  the  fidelity  of  the 
self-portrait  may  be  questioned.  Series,  Komei  Bijin  Mitate 
Chushingura.  Signed,  Oju  Utamaro,  unubore  gawo  utsusu. 

Size,  14-hi  x  5  hi  inches.  Fine  early  impression.  Trimmed  from  15  x  10 
inches;  otherwise  in  very  fine  condition.  See  illustration,  p.  49. 

90  Pleasure  Boats  on  the  Sumida.  Many  boats  on  the  broad  stream 

near  Ryogoku  bridge  which  is  shown  thronged  with  people,  some 
of  whom  stop  to  look  down  upon  the  gay  scene  below.  Fishing 
parties  occupy  three  boats  in  the  foreground.  An  early  work  in 
the  Kiyonaga  manner.  Signed,  Utamaro  gwa. 

Triptych.  Size,  15  x  30  inches.  Fine  impression,  in  fine  condition. 
See  illustration. 


SHIOHI  NO  TSUTO 

“Presents  of  the  Ebb-tide,”  Utamaro's  famous  book  of  shells.  Seven  of  the 
eight  plates  with  which  it  was  illustrated.  Notable  for  the  exquisite  quality  of 
the  engraving  and  printing.  Utamaro’s  name  is  given  in  the  book,  the  pictures 
are  not  signed.  Size,  10%x  15  inches.  Fine  impressions,  in  good  condition. 
From  a  good  edition,  but  not  the  first. 

91  Ebb-tide  at  Shinagawa.  Men,  women,  and  children  promenading  and 

gathering  shells. 

92  Thirty-eight  Shells  lying  on  the  sea-bed. 

93  Twenty-four  Shells,  including  two  large  Awabi,  or  Sea-ears,  that  rest 

upon  green  seaweed. 


First  Afternoon 


54 


94  A  Large  Rock  encrusted  with  red  and  blue  marine  growths.  Many 

shells  attached  to  it  and  lying  upon  the  sands  near  it. 

95  Nineteen  Shells  of  various  kinds  lying  amid  seaweed  on  the  bed  of 

the  sea. 

96  Eighteen  Shells,  six  or  seven  kinds  of  as  many  shapes  and  colors. 

97  Seaweeds  and  Thirty  Shells  strewn  upon  the  sea-bed. 


98  New  Year’s  Buffoonery.  Two  strolling  manzai  entertaining  with  jokes, 

dancing,  and  music,  the  women  of  a  daimyo’s  household  who  are 
seated  behind  a  screen  with  fine  bamboo  slats  through  the  inter¬ 
stices  of  which  their  figures  appear  in  silhouette.  Signed,  Utamaro 
gwa. 

Size,  9l/i  x  7Ys  inches.  Good  impression,  in  fine  condition.  Illustrated 
on  Plate  VIII  of  the  V.-I.  Utamaro  Catalogue. 

99  Preparing  for  the  Hina  Matsuri.  A  woman  and  her  two  daughters 

opening  boxes  and  examining  the  dolls  kept  in  them  to  see  that 
they  are  in  good  condition  for  the  festival.  A  symphony  in  black, 
blue,  violet,  and  gray.  Signed,  Utamaro  gwa. 

Size,  9%  x  734  inches.  Ordinary  impression,  in  very  fine  con¬ 
dition. 

100  Joshoku  Kaisho  Tewazagusa.  Women’s  handiwork  in  silk-culture. 

The  last  three  of  the  twelve  prints  of  the  series  mounted  to  form  a 
triptych.  The  entire  series  is  so  designed  that  by  joining  the 
sheets  together,  they  form  one  picture.  The  three  forming  this 
triptych  are:  Washing  and  drying  the  floss  silk,  Spinning  the  yarn, 
and  Weaving  cloth.  Signed,  Utamaro  fude. 

*  Size,  x  30  inches.  Good  impression,  in  fair  condition,  trimmed  at 
the  head  and  foot. 

101  Naniwa-ya  O  Kita.  The  famous  half-length  portrait  of  the  popular 

tea-house  waitress  carrying  a  bowl  of  tea  on  a  black  lacquer  tray. 
Mica  ground.  Signed,  Utamaro  fude. 

Size,  1414 s  x  9F8  inches.  Late  impression,  in  poor  condition. 


55 


First  Afternoon 


102  At  the  Naniwa  Cha-ya.  A  very  tall  geisha  and  her  matron  at  the 
famous  tea-house  where  O  Kita  offers  the  geisha  a  cup  of  tea. 
Printed  above  are  three  odes  to  "the  daughter  of  the  tea-house.” 
Signed,  Utamaro  gwa. 

Size,  to]4  x  10  inches.  Good  impression,  in  fair  condition. 


No.  103 


103  O  Kita  and  a  Geisha.  A  later  presentation  of  the  same  subject  as  that 
of  the  preceding  lot.  Large  head  and  bust  portraits  of  only  two 
figures,  the  geisha  and  0  Kita,  who  is  offering  her  a  bowl  of  tea. 
Signed,  Utamaro  fude. 

Size,  14%  x  9%  inches.  Very  fine  impression,  in  immaculate  con¬ 
dition.  See  illustration. 


First  Afternoon 


56 


104  A  Trial  of  Strength  Between  East  and  West.  Naniwa-ya  0  Kit  a  at  the 

right,  representing  the  West,  and  Takashima-ya  0  Hisa  at  the 
left,  representing  the  East,  seated  facing  eacli  other  on  a  red  rug 
trying  to  see  which  can  pull  the  other  over  with  the  band  of  red 
cloth  that  encircles  both  of  their  necks.  Two  Yoshiwara  women 
sit  beside  them  watching  the  contest.  Signed,  Utamaro  fude. 

Size,  9  A  x  UFA,  inches.  Good  impression,  in  fine  condition. 

105  Preparing  to  Write  a  Letter.  Shizuka  of  Tama-ya  rolling  up  a  long 

strip  of  letter  paper  and  holding  a  brush  between  her  lips.  Series: 
Toji  Zensei  Bijin  Soroi,  i.e.,  “A  Group  of  the  Most  Popular 
Beauties  of  Today.”  Signed,  Utamaro  fude. 

Size,  15  x  9  A  inches.  Good  impression,  in  fair  condition. 

106  Delivering  a  Love-letter.  A  woman  handing  a  folded  letter  to  another 

woman  who  pauses  while  combing  her  hair,  and  a  young  boy 
seated  upon  her  lap  turns  to  view  his  face  reflected  in  a  mirror 
standing  by  her  side.  Signed,  Utamaro  gwa. 

Size,  12 %  x  8 fig  inches.  Fine  impression,  in  fine  condition. 

107  Toi  no  Tamagawa.  The  Tama  river  in  the  province  of  Settsu  typified 

by  women  on  the  bank  of  a  stream  fulling  cloth  by  the  kinuta 
process  of  beating  it  with  a  wooden  mallet.  Series,  Furyu  Mu 
Tamagawa.  Signed,  Utamaro  fude. 

Size,  If  x  9  inches.  Ordinary  impression,  in  fair  condition. 

108  Koya  no  Tamagawa.  The  so-called  poisoned  Tama  river  in  the 

province  of  Kii  typified  by  two  women  pilgrims  standing  on  the 
bank  of  a  mountain  stream.  Same  series.  Signed,  Utamaro  fude. 
Size,  If  x  9 A  inches.  Good  impression,  in  good  condition. 

109  The  Gauze  Kimono.  A  tall  woman  standing  looking  down  at  her 

little  son  who  has  caught  hold  of  the  skirt  of  her  silk  gauze  kimono 
and  is  looking  through  it  where  he  has  stretched  it  across  his  face, 
while  his  nurse  holds  him  by  his  obi.  Signed,  Utamaro  fude. 

Size,  20  A  x7Yz  inches.  Good  impression.  Has  a  few  moth  holes  near 
the  top  edge;  otherwise  in  good  condition. 

110  Ujiori  Sodachi.  "Shows  his  breeding  even  though  poor.”  A  youth 

bending  over  and  talking  to  a  woman  who  has  just  come  from  a 


57 


First  Afternoon 


bath  and  has  only  a  yukata  about  her,  leaving  her  bust  and  one 
arm  bare.  Series:  Kodakara  Gei  no  Fushi.  Signed,  Utamaro  fude. 
Size,  14Vs  x  yy?>  inches.  Fine  impression ,  in  fine  condition. 


No.  Ill 


111  Keichiro  Hinazuru.  Full  length  standing  figure  of  the  tayu  attired 

in  her  most  gorgeous  clothes.  Signed,  Utamaro  fude. 

Size,  125/ 8  x  8%  inches.  Very  fine  impression,  in  especially  beautiful 
condition,  though  trimmed  a  little  at  the  head  and  foot.  See  illustration. 

112  Umegawa  and  Chubei.  Umegawa  stands,  tying  her  obi  and  looking- 

down  at  her  lover  who  is  on  the  floor  at  her  feet.  Signed,  Utamaro 
fude. 

Size,  18  fs  x  6' >8  inches.  Fine  impression,  in  fair  condition. 


No.  115 


59 


First  Afternoon 


113  Too  Much  Sake.  A  tall  geisha  who  has  imbibed  too  freely,  being 

held  up  by  another  woman  who  clasps  her  in  her  arms  from  be¬ 
hind  and  helps  her  to  walk  along  the  bank  of  the  Sumida  river. 
Signed,  Utamaro  fude. 

Size,  20 x  7 fs  inches.  Good  impression,  in  fine  condition. 

114  Blowing  Up  the  Fire.  A  tall  oiran  standing  looking  down  at  her 

kamuro  who  is  kneeling,  bending  over  a  hibachi  and  blowing  the 
charcoal  fire  to  fan  it  into  a  flame.  Signed,  Utamaro  fude. 

Size,  201^x7%  inches.  Fine  impression,  in  fine  condition,  color 
especially  good.  See  illustration,  p.  60. 

115  Mono  Omou  Koi.  “Meditating  about  Love.”  Large  head  and  bust 

portrait  of  a  married  woman  who  sits  with  her  right  hand  resting 
against  her  cheek.  Mica  ground.  Series:  Kasen  Koi  no  Bu.  Not 
signed.  This  impression  has  neither  the  title,  series  title,  nor  the 
artist’s  signature,  all  of  which  appear  on  the  impression  in  the 
Spaulding  collection.  A  print  of  rare  distinction. 

Size,  14Y»x9Fi  inches.  Fine  impression.  Trimmed  from  15x10 
inches.  In  fine  condition  otherwise.  See  illustration.  Illustrated  also 
on  Plate  XXXIV  of  the  V.-I  Utamaro  Catalogue. 

116  The  Kitchen.  Right-hand  sheet  of  the  famous  diptych  showing  a 

young  woman  seated  before  a  kamedo,  using  a  bamboo  tube  to 
blow  up  the  fire,  and  another  woman  standing  by  her  side  reaching 
through  a  cloud  of  smoke  to  dip  hot  water  from  a  kettle.  Im¬ 
pression  of  the  rare  first  state  before  changes  were  made  in  the 
blocks  and  a  tub  was  added  at  the  side  of  the  kamedo.  Signed, 
Utamaro  fude. 

Size,  UFA  x  10  inches.  Fine  impression,  trimmed  a  half  inch  at  the 
head,  and  slightly  stained  on  the  upper  part  of  the  kamedo. 


TORII  KIYOMINE 

Grandson  of  Kiyomitsu,  and  pupil  of  Kiyonaga.  After  Kiyonaga’s  death, 
he  became  the  fifth  head  of  the  Torii  line  and  took  the  name  of  Kiyomitsu  II. 
Born  1787;  died  1868. 

117  Oiran  Admiring  Cherry  Blossoms.  Mitsuhana  of  Sano-matsu-ya, 
seated  on  a  bench  under  a  blossoming  cherry  tree,  and  her  kamuro 


No.  114 


61 


First  Afternoon 


standing  by  her  side.  Left-hand  sheet  of  a  triptych.  Signed, 
Kiyomine  gwa. 

Size,  14%  x  9%  inches.  Good  impression ,  in  good  condition. 


UTAGAWA  TOYOKUNI 

Pupil  of  Toyoharu.  Personal  name  Gorobei  Kumakichi.  Born  1769; 
died  February  24,  1825. 

118  The  Middle  Street  of  the  Yoshiwara  in  the  Time  of  the  Cherry  Blossom¬ 

ing.  Third  sheet  of  the  well-known  pentaptych  that  is  one  of  the 
finest  of  Toyokuni’s  earlier  works.  A  tayu  and  her  attendants  in 
the  foreground  and  a  group  of  men  in  the  background.  Signed, 
Tojmkuni  gwa. 

Size,  15  x  10y8  inches.  Fine  impression,  in  very  fine  condition. 

119  Kacho  Cha-ya.  The  Flower  and  Bird  Tea-house.  Middle  sheet  of 

the  triptych  showing  one  of  the  bird  cages  in  the  background,  and 
a  group  of  women  and  a  maid  bearing  cups  of  tea  on  a  tray  in  the 
foreground.  Signed,  Toyokuni  gwa. 

Size,  14lA  x  1PA  inches.  Ordinary  impression,  in  good  condition. 

120  Shika  Ja-ya.  The  Deer  Tea-house.  Left-hand  sheet  of  the  triptych 

showing  three  women  in  the  foreground  and  a  group  of  men  and 
women  in  the  garden  in  the  background  where  there  are  cages  for 
cranes  and  peacocks  and  a  paddock  for  the  deer.  Signed,  Toyokuni 
gwa. 

Size,  147/s  x  97/$  inches.  Very  fine  impression,  in  fine  condition  save 
for  a  few  small  holes  that  do  very  little  harm. 

121  A  Women’s  Party  with  Joruri  Recital.  Scene  at  a  tea-house  on  the 

bank  of  the  Sumida  River  at  Ryogoku.  At  the  right  two  women, 
one  of  whom  carries  a  kettle  of  sake,  stop  to  speak  as  they  pass.  On 
the  next  sheet  the  noted  Joruri  chanter,  Tomimoto  Buzendayu, 
seated  before  a  black  samisen  box  used  as  a  table,  reads  from  a 
book  lying  before  him  and  chants  the  words  while  a  woman  seated 
beside  him  plays  an  accompaniment  on  a  samisen.  In  the  next 
two  sheets  is  a  group  of  seven  women,  two  of  whom  are  playing 
kitsune  ken,  and  in  the  last  sheet  two  women  are  standing,  one 


First  Afternoon 


62 


of  whom  holds  a  spyglass,  and  a  girl  is  seated  at  her  feet.  Signed, 
Toyokuni  gwa. 

Pentaptych.  Size,  UFA  x  49  inches.  Good  impression ,  in  fair  con¬ 
dition;  somewhat  faded. 

122  Watching  Him  Pass.  A  woman  leaning  across  the  railing  of  a  balcony 

to  watch  the  popular  actor,  the  third  Sawamura  Sojuro,  pass  by  on 
his  way  to  the  theatre  for  the  early  morning  ceremonies  at  Kaomise, 
the  theatrical  New  Year,  when  the  companies  were  made  up  for  the 
ensuing  twelve  months  and  the  new  season  was  opened.  Signed, 
Toyokuni  gwa. 

Hashira-e.  Size,  2FA  %  FA.  inches.  Good  impression,  in  good  condition. 

123  San  Gatsu.  The  third  month.  A  woman  seated  on  a  mat  holding  a 

pipe  and  looking  at  a  girl  who  is  arranging  the  clothes  of  a  man  doll 
which  she  is  about  to  place  in  a  small  kago  for  use  during  the  Hina 
Matsuri  or  Doll  Festival  on  the  third  day  of  the  month.  One  of 
an  unnamed  series  of  designs  for  each  of  the  twelve  months.  Signed, 
Toyokuni  gwa. 

Size,  12}/%  x  8y  inches.  Ordinary  impression,  in  good  condition. 

124  The  Dream  of  the  Rat’s  Wedding.  In  a  parlor  in  a  great  house  a 

young  woman  seated,  leaning  on  an  arm-rest  dreams  of  a  wedding 
procession  in  which  rats  take  the  place  of  men  and  women.  Seated 
on  the  floor  before  her  four  girls  are  playing  the  game  of  uta- 
garuta,  or  poem-cards,  while  three  women  look  on;  two  of  them  hold 
copies  of  the  “Hyakunin  Isshu”  to  check  the  identifications  of  the 
odes  that  are  made  by  the  players.  Middle  and  left-hand  sheets 
of  a  triptych.  Signed,  Toyokuni  gwa. 

Diptych.  Size,  15yx20  inches.  Ordinary  impression,  not  quite 
perfect  in  register.  In  good  condition. 

125  Kannazuki.  This  is  one  of  the  fancy  names  for  the  tenth  month. 

Scene  in  a  restaurant  where  a  fat  man  seated  before  a  small  dining 
table  is  gorging  himself  with  rice,  and  a  waitress  is  filling  a  bowl  for 
another  guest  who  rubs  his  head  while  watching  anxiously  to  see 
that  she  gives  him  a  liberal  supply.  An  amusing  print.  Series :  Edo 
Nishiki  Ivotobuki  Ju-ni  Gatsu,  i.e.,  “  Long-life  Pictures  of  the 
Twelve  Months  in  Edo.”  Signed,  Toyokuni  gwa. 

Size,  IF/ 8  x  9  Ys  inches.  Fine  impression,  in  fine  condition. 


63 


First  Afternoon 


126  The  Public  Bath-House.  Middle  sheet  of  a  triptych  which  is  one 

of  Toyokuni’s  most  important  works.  A  woman  standing,  robed 
in  a  blue-and-white  yukata,  and  another  woman  beside  her  crouch¬ 
ing  down  to  wring  out  a  towel.  Both  are  looking  toward  the  right. 
Signed,  Toyokuni  gwa. 

Size,  1 4  fg  x  9  inches.  Fine  impression.  Trimmed  from  15x10 
inches  and  has  a  small  hole  near  the  foot  at  the  left  and.  another  near  the 
middle  of  the  sheet.  In  fine  condition  otherwise. 

KATSUKAWA  SHUNZAN 

Pupil  of  Shunsho  and  also  of  Shunyei.  Closely  followed  the  style  of  Kiyo- 
naga.  Dates  of  birth  and  death  unknown,  but  it  is  probable  that  he  died,  at  an 
early  age. 

127  Three  Niwaka  Performers.  Ink-proof  from  the  key-block  of  a  print 

depicting  geisha  taking  part  in  a  burlesque  procession  in  the 
Yoshiwara.  Signed,  Shunzan  gwa. 

Size,  10y8x7%  inches.  Good  impression,  in  good  condition. 

KATSUKAWA  SHUNSEN  II 

At  first  a  pupil  of  T.sutsumi  Torin.  Studio  name  Shurin.  Later  he  was 
a  pupil  of  Shunyei  and  was  given  the  name  of  Katsukawa  Shunsen,  but  he 
usually  signed  Kashosai  Shunsen.  About  1820  he  became  the  second  Katsu¬ 
kawa  Shunko.  Is  best  known  as  a  designer  of  book  illustrations  during  the 
Bunkwa  period.  In  after  years  he  devoted  himself  chiefly  to  the  decoration  of 
pottery.  Dates  of  birth  and  death  not  known. 

128  View  of  Enoshima  from  Seven-ri  beach,  a  huge  breaker  rising  in  the 

foreground,  and  Fujisan  seen  in  the  distance  across  the  bay. 
Notable  for  the  highly  conventionalized  rendering  of  the  foliage, 
rocks,  and  the  bluff  at  the  right,  in  the  style  that  Shunsen  used  for 
decorating  keramic  wares.  Signed,  Shunsen  aratame  (changed  to) 
Shunko  gwa. 


First  Afternoon 


64 


KATSUSHIKA  HOKUSAI 

Pupil  of  Katsukawa  Shunsho  and  other  masters.  First  studio  name  Katsu- 
kaiva  Shunro.  Later  changed  to  Hishikawa  Sori,  Kako,  Hokusai,  Shinsai, 
Taito,  I-itsu,  Manji,  and  other  names.  Born  1760;  died  1849. 


129  Sagi  ni  Matsu.  A  white  heron  standing  on  one  leg  on  the  trunk  of  a 

snow-laden  pine  tree.  Signed  with  seals  only;  Gunbatei  no  In. 

A  very  rare  and  attractive  Hokusai  item.  He  is  said  to  have 
used  the  Gunbatei  name  occasionally  from  about  1786  to  1788. 
Size,  1 1  hs'Ghr  inches.  Fine  impression,  mfine  condition.  See  illustration. 
From  the  Vicomte  de  Sartiges  collection 

130  The  Third  Segawa  Kikunojo  as  a  woman  standing  in  the  doorway  of  a 

tea-house.  Very  early  work.  Signed,  Shunro  gwa. 

Size,  11%  x  5%  inches.  Ordinary  impression,  in  good  condition. 


65 


First  Afternoon 


]31  Ryogoku  Bashi  Yuryo  Yo-inise  no  Zu.  Picture  of  night-stalls  and 
amusement  booths  at  Ryogoku  bridge.  One  of  a  series  of  Shin-pan 
Ukiye,  i.e.,  “New-block  Perspective  Pictures,”  which  were  Hoku¬ 
sai’s  earliest  landscape  prints.  Signed,  Hokusai  gwa. 

Size,  .9  Jd  x  Ufi/i  inches.  Ordinary  impression,  in  fine  condition. 

132  Fair  Visitors  to  the  Yatsu  Hashi.  The  Yatsu  Hashi  or  Bridge  of  Eight 

Platforms,  at  Chiryu  in  the  province  of  Mikawa  was  one  of  the 
famous  sights  viewed  by  Narihira  on  his  Eastern  Journey.  Here 
Hokusai  shows,  in  place  of  the  Prince  and  his  attendants,  three 
women  at  the  bridge.  Over  her  ordinary  apparel  each  wears  a 
white  garment  resembling  that  worn  in  ancient  times  by  a  toneri, 
or  nobleman’s  personal  attendant,  and  has  on  her  head  an 
eboshi,  or  hat  of  the  style  in  vogue  in  the  Fujiwara  epoch.  In 
this  way  is  presented  a  mitate-e  or  transformed  version  of  the 
incident  related  in  the  Ise  Monogatari.  Long  surimono.  Signed, 
Sori  gwa. 

Size,  7f  8  x  20}/i  inches.  Good  impression,  in  good  condition. 
KANADEHON  CHUSHINGURA 

“The  Original  Chushingura,”  the  dramatized  story  of  the  Forty-seven 
Loyal  Ronin.  Complete  set  of  eleven  yokoban  prints.  Though  not  very  early 
impressions,  they  are  unusually  good  in  color,  and  the  set,  on  the  whole,  is  the 
finest  that  has  come  under  the  observation  of  the  ivriter  of  this  catalogue.  They 
are  not  signed,  bid,  presumably  the  artist’s  name  appeared  upon  the  wrapper  of 
the  packet  in  which  they  were  enclosed  by  the  publisher. 

Size  of  each  print  9%  x  If  3d  inches.  All  in  fine  condition. 

133  Scene  from  Act  I.  Ko  no  Moronao  making  love  to  the  Lady  Kaoyo. 

134  Scenes  from  Act  II.  The  interview  between  Rikiya  and  Konami,  and 

that  between  Wakasa-no-suke  and  Kakogawa  Honzo  in  which  the 
latter  draws  his  sword  and  cuts  off  at  a  stroke  a  branch  of  a  pine 
to  show  how  Moronao  should  be  dealt  with. 

135  Scene  from  Act  III.  The  fight  between  Hayano  Ivanpei  and  Sagisaka 

Bannai  and  his  servants  near  the  gate  to  the  palace  of  Ashikaga 
Tadayoshi,  Governor-General  of  the  Eastern  Provinces. 


First  Afternoon 


66 


136  Scene  from  Act  IV.  Kaoyo-gozen  seated  with  her  waiting  women 

arranging  flowers,  as  Hara  Goemon  and  Ono  Kudayu  arrive  bring¬ 
ing  the  message  that  her  husband  has  been  condemned  to  commit 
seppuku  because  of  his  attempt  to  kill  Moronao. 

137  Scene  from  Act  V.  The  murder  and  robbery  of  Yoshibei  by  Sadakuro, 

son  of  Kudayu. 

138  Scene  from  Act  VI.  The  widow  of  Yoichibei  begging  Hara  Goemon 

and  Senzaki  Yagoro  to  kill  her  son-in-law  Kanpei  whom  she  supposes 
to  be  the  murderer  of  her  husband.  In  the  background  her  daughter 
0  Karu,  wife  of  Kanpei,  being  carried  awayinakago  to  Ichimonji-ya. 

139  Scene  from  Act  VII.  Heiemon  slashing  Kudayu  with  a  rusty  sword. 

140  Scene  from  Act  VIII.  Tonase,  wife  of  Kakogawa  Honzo,  and  her 

daughter  Konami  journeying  from  Edo  to  Yamashina. 

141  Scene  from  Act  IX.  The  fight  at  Yuronosuke’s  house  in  Yamashina 

in  which  Honzo  was  killed  by  Rikiya. 

142  Scene  from  Act  X.  Amakawa-ya  Gihei  refusing  to  let  the  ronin 

disguised  as  policemen  open  the  box  containing  the  arms  and 
armor. 

143  Scene  from  Act  XI.  The  night  attack  upon  Moronao’s  residence. 

HYAKUNIN  ISSHU  UBAGA  ETOKI 

“  The  Hundred  Poems  Explained  by  the  Nurse.”  Four  prints  of  the  series. 
Each  signed  Zen  Hokusai  Manji.  Each  illustrates  one  of  the  famous  odes 
forming  the  collection  known  as  the  Hyakunin  Isshu. 

144  Poem  by  Tenchi  Tenno.  A  farm  scene  in  autumn  with  laborers  harvest¬ 

ing  rice.  No.  1  of  the  series. 

My  lowly  hut  is  thatched  with  straw 

From  fields  where  rice-sheaves  frequent  stand, 

Now  autumn’s  harvest  well-nigh  o’er, 

Collected  by  my  toiling  hand; 

Through  tatter’d  roof  the  sky  I  view, 

My  clothes  are  wet  with  falling  dew. 

Size,  10  x  Ufi/2  inches.  Fine  impression.  Trimmed  from  10x15 
inches;  otherwise  in  fine  condition. 


67 


First  Afternoon 


145  Poem  by  Jito  Tenno.  People  wading  across  a  river,  and  two  women 

who  have  been  washing  strips  of  white  cloth  in  the  stream  carrying 
them  away  on  a  bamboo  pole  to  a  hamlet  where  other  strips  are 
hung  up  to  dry.  No.  2  of  the  series. 

The  pleasant  spring  hath  passed  away, 

Now  summer  follows  close  I  ween, 

And  Ama’s  secret  summit  may 
In  all  its  grandeur  now  be  seen; 

Of  yore  the  drying  ground, 

Whitened  with  angels’  robes,  spread  far  around. 

Size,  10  x  14/4  inches.  Fine  impression,  in  fine  condition  save  that  it 
has  been  trimmed  a  half-inch  in  length. 

146  Poem  by  Sarumaru  Daiyu.  Women  passing  through  the  mountains 

in  autumn  pausing  to  listen  to  the  cry  of  a  stag.  No.  5. 

Now  ’mid  the  hills  the  momiji 

Is  trampled  down  ’neath  hoof  of  deer, 

Whose  plaintive  cries  continually 
Are  heard  both  far  and  near; 

My  shivering  frame 

Now  autumn’s  piercing  chills  doth  blame. 

Size,  9x/±  x  1F/2  inches.  Fine  impression,  in  fine  condition  save  that  it 
has  been  trimmed  from  15  x  10  inches. 

147  Poem  by  Bunya  no  Asayasu.  Women  in  a  boat  gathering  lotus  leaves. 

No.  37. 

Now  dew-drops  sparkling  o’er  the  moor  are  seen, 

The  autumn  gust  sweeps  howling  by, 

Scarce  lurks  an  instant  ’mid  the  reeds  I  ween: 

In  timid  show’r  the  dew-drops  fly, 

And,  scattered  o’er  the  grass,  there  lie. 

Size,  10  x  14/4  inches.  Fair  impression,  in  fine  condition. 

TEISAI  HOKUBA 

Pupil  of  Hokusai.  Better  known  as  a  painter  than  as  a  print  designer. 
Born  1770;  died  1844- 

148  Admiring  the  Cocoa  Palm.  A  Chinese  noble  and  his  wife  looking  at 

an  unrolled  cocoa  palm  growing  in  a  small  fenced  enclosure. 
Surimono.  Signed,  Teisai. 

Siz‘>,  7%  x  Off  inches.  Fine  impression,  in  fine  condition. 


First  Afternoon 


68 


149  Chochu.  This,  which  is  the  artist’s  title,  is  probably  the  name  of  the 

geisha  who  is  depicted,  walking  toward  the  left.  Signed,  Teisai 
Hokuba  gwa. 

Size,  8  x  5  Vs  inches.  Good  impression,  in  fair  condition. 

AOIGAOKA  HOKKEI 

Pupil  of  Hokusai.  Began  life  as  a  fishmonger.  Famous  as  an  illustrator 
of  comic  odes  and  as  a  designer  of  surimono.  Born  1780;  died  1850. 

Fourteen  Surimono.  An  exceptionally  choice  lot.  All  are  exquisitely 
engraved  and  printed  and  are  in  the  finest  condition  possible.  The  size  of 
the  first  on  the  list  is  5  fi  x  7  M  inches ;  the  others  are  all  about  8x7  inches 
in  size. 

150  Dai-Sho  Calendar  for  1811.  A  New  Year’s  Day  scene.  A  man 

seated  with  his  wife  by  a  hibachi  at  the  side  of  which  a  low  table 
supports  a  platter  on  which  is  a  large  tai.  At  the  left  a  faithful 
servant  bows  low  and  stretches  out  his  hand  to  receive  a  present 
of  money  and  an  accompanying  letter  that  his  master  is  giving 
him.  The  numerals  of  the  small  months  of  Bunkwa  8  are  upon 
a  small  hibachi  (?)  on  a  shelf  in  the  background.  Signed,  Hokkei 
gwa. 

151  A  Geisha  of  the  Genroku  Period.  Reproduction  of  a  painting  by 

Hishikawa  Moronobu,  with  a  border  of  white  cherry  blossoms  on 
a  dark  red  ground.  Signed,  Hokkei. 

152  A  Carpenter  of  the  Fujiwara  Period.  He  is  dressed  in  a  blue  garment 

with  a  band  of  white  stripes,  cut  in  curious  fashion,  and  holds  a 
square  in  his  hands.  At  the  right  is  a  post  decorated  with  fans 
and  streamers  such  as  was  customarily  set  up  to  mark  the  comple¬ 
tion  of  a  building.  This  print  has  been  trimmed  a  half  inch  at 
the  right.  Signed,  Hokkei. 

153  Sokomei.  Portrait  of  one  of  the  heroes  whose  biographies  are  given 

in  a  famous  work  called  by  the  Japanese  “Suikoden.”  Series: 
Suiko  Go  Gyo  Iva,  i.e.,  “Five  Characters  of  Suiko.”  Signed,  Go 
Hokkei. 


69 


First  Afternoo?i 


154  In-Shu.  This  title  signifies  drink,  the  print  being  one  of  a  series  of 

“Five  Cautions. ”  It  represents  Sakata  Kintoki  carrying  an 
enormous  tub  of  sake. 

155  Uyamai.  Making  gifts  of  paintings  and  baskets  of  food  to  a  temple 

on  New  Year’s  Day.  Series:  Ju-hachi  Ban  Tsuzuki,  i.e.,  “Eighteen 
Old  Stories.”  Signed,  Hokkei. 

156  The  Courtesan  Jigoku.  Jigoku  is  the  name  of  the  Buddhist  hell. 

The  woman’s  kimono  is  decorated  with  a  picture  of  Ema,  the 
ruler  of  the  infernal  regions,  holding  court,  with  a  woman  and  a 
demon  seated  before  him  playing  a  game  of  sugoroku.  Series, 
Yukun  San  Ban  Tsuzuki.  Signed,  Hokkei. 

157  New  Year’s  Garments.  A  geisha  arraying  herself  for  the  holiday  in 

new  apparel  made  of  gorgeous  brocades.  Signed,  Hokkei. 

158  Saru-mawashi  ni  Goze.  A  monkey  showman  and  a  strolling  woman 

musician  meeting  on  the  bank  of  the  Sumida.  Signed,  Hokkei. 

159  Food.  A  group  of  charming  bowls  and  dishes  and  a  box  containing 

rice,  soup,  and  other  viands,  and  in  the  foreground  a  kettle  of 
sake  and  a  red  lacquer  stand  and  cup.  One  of  a  set  of  three  depict¬ 
ing  the  essentials:  i  (clothing),  shoku  (food),  and  ju  (shelter). 
Signed,  Hokkei  sha. 

160  Ebi  ni  Mikikazare.  A  lobster  and  a  folded  paper  decoration  for  a 

sake  bottle ;  and,  at  the  right,  a  poem  on  a  dark  red  panel  with 
plum  blossom  decoration.  Signed,  Hokkei. 

161  Yanagi  Yu.  A  geisha  looking  down  at  a  kite  made  in  the  form  of  a 

yakko,  or  nobleman’s  servant,  which  has  fallen  at  her  feet.  Signed, 
Go  Hokkei. 

162  New  Year’s  Morning  Greetings.  Samurai  making  salutations  to  each 

other  as  they  meet  on  Kudan  hill  by  the  Ox  Pool  (Ushi  ga  Fuchi). 
Signed,  Hokkei. 

163  Kintaro  and  the  Koi.  The  youthful  Sakata  Kintoki  struggling  with  a 

huge  carp  ascending  a  waterfall  in  the  Ashigara  mountains.  A 
surimono  of  extraordinary  beauty,  fine  in  design,  and  a  marvelous 
specimen  of  the  printer’s  art.  Signed,  Hokkei. 


First  Afternoon 


70 


SHIKIJOTEI  RYtJKOGA 

164  The  Butterfly  Odori  performed  by  three  dancers  in  a  courtyard  of  the 
Imperial  Palace.  Long  surimono.  Signed,  Shikijotei  Ryukoga. 

Size,  7x/i  x  10  inches.  Fine  impression,  in  fine  condition. 


No.  165 


UTAGAWA  KUNIYOSHI 

Pupil  of  Toyokuni  I.  Personal  name  Ikusa  Yataro.  Studio  names 
Ichiyusai,  Cho-d-rd,  Ichibydsai  and  Kuniyoshi.  Born  1797;  died  1861. 

165  Tsukuda  Oki  Seiten  no  Fuji.  Fugi  seen  in  a  clear  sky  from  the  sea 

off  Tsukuda  Island.  Series:  Toto  Fuji  Mi  San-ju-rok-kei.  Signed, 
Ichiyusai  Kuniyoshi  gwa. 

Size,  9fi  x  IS kg  inches.  Fine  impression,  m  fine  condition.  See 
illustration. 

166  Mitsumata  no  Zu.  The  three  forks  of  the  Sumida.  Ryogoku  bridge 

in  the  distance  at  the  right;  in  the  foreground  two  men  have  built 
a  fire  to  char  the  bottom  of  a  boat  that  is  drawn  up  on  the  shore. 
Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  10  x  1 J}  }4  inches.  Good  though  not  perfect  impression,  in  fine 
condition. 


71 


First  Afternoon 


167  Miyatogawa  no  Zu.  Men  wading  in  the  Miyato  River  fishing  for  eels. 

Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  9%  x  13%  inches.  Ordinary  impression ,  in  good  condition. 

168  Hashiba  no  Zu.  View  in  the  suburb  of  Hashiba.  People  looking  at 

the  tall  statue  of  Jizo  Bosatsu  standing  by  the  roadside.  Signed, 
Ichiyusai  Kuniyoshi  gwa. 

Size,  9%  x  13%  inches.  Fair  impression,  in  good  condition. 

169  Chushingura,  Act  XI.  The  night  attack  by  the  Loyal  Ronin.  A 

familiar  subject  treated  in  a  novel  manner,  somewhat  in  Western 
style.  Signed,  Ichiyusai  Kunisada  gwa. 

Size,  9%  x  13 %  inches.  Good  impression,  in  fair  condition. 

170  Chushingura,  Act  V.  Sadakuro  murdering  Yoichibei.  Signed, 

Ichiyusai  Kuniyoshi  gwa. 

Size,  9^  g  x  H+%  inches.  Fine  impression,  in  fine  condition. 

171  Soshu;  Oyama  Michi  Tamura  Watashi  no  Zu.  The  Tamura  ferry 

on  the  road  to  Oyama  in  Soshu.  Signed,  Ichiyusai  Kuniyoshi 
gwa. 

Size,  9 %  x  13%  inches.  Fair  impression,  in  good  condition. 

172  Oyama  Ryoben  Taki  no  Zu.  “The  Ryoben  Waterfall  at  Oyama,” 

pouring  into  an  enclosed  pool  at  its  foot  where  many  bathers  are 
disporting  themselves.  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  9h/ 8  x  14%  inches.  Fair  impression,  in  fine  condition. 

TOTO  MEISHO 

“Famous  Sights  of  the  Eastern  Capital.’'  Nine  prints  of  the  series.  All 
signed,  Ichiyusai  Kuniyoshi  gwa. 

173  Susaki  Hatsu  Hinode  no  Zu.  Greeting  the  rising  sun  at  Susaki  on 

the  first  morning  of  the  year. 

Size,  9%  x  13%  inches.  Ordinary  impression,  in  fair  condition, 
slightly  cut  down  and  border  trimmed  off. 

174  Kasumi  ga  Seki.  View  across  the  crest  of  the  hill  on  the  street  so 

named. 

Size,  9%  x  14V%  inches.  Ordinary  impression,  in  fair  condition, 
border  trimmed  off. 


First  Afternoon 


72 


175  Ryogoku  Yanagi  Bashi.  View  of  Yanagi  bridge  from  Ryogoku  at 

nightfall.  In  the  foreground  three  large  dogs  growling  at  passers- 
by. 

Size,  10  x  14  inches,  including  the  green  border.  Good  impression,  in 
fair  condition. 

176  Tsukuda-jima.  Tsukuda  Island  seen  from  beneath  Eitai  bridge. 

Size,  9%  x  UFA  inches,  including  the  border.  Good  impression,  in 
fair  condition. 

177  Asakusa,  Imado.  Potters’  kilns  on  the  bank  of  the  river  at  Imado, 

Asakusa  district. 

Size,  9%xl3y$  inches,  including  the  border.  Fine  impression,  in 
fine  condition  save  for  slight  discoloration  along  the  line  of  a  vertical  fold. 

178  Omori.  Gathering  edible  seaweed  at  Omori.  Growing  on  brush 

planted  in  the  water  it  is  easily  collected  at  low  tide. 

Size,  9%  x  13%  inches.  Border  trimmed,  off  at  the  top,  and  soiled 
along  the  line  of  a  vertical  fold. 

179  Teppozu.  Fishing  with  rod  and  line  from  rocks  on  the  seashore  at 

Teppozu. 

Size,  3 if  x  13%  inches.  Fine  impression,  in  good  condition;  border 
trimmed  off. 

180  Shin  Yoshiwara.  View  of  the  licensed  quarter  from  the  road  along  the 

Nippon  embankment  :  a  great  ring  around  the  full  moon  overhead. 

Size,  9l/s  x  13  inches.  Fine  impression,  in  fine  condition;  border 
trimmed  off. 

181  Surugadai.  View  of  the  district  on  a  shower y  afternoon,  a  rainbow 

spanning  the  gray-blue  sky. 

Size,  9f  8  x  13  f  i  inches.  Good  impression,  in  good  condition.  A  little 
of  the  green  border  remains. 


UTAGAWA  HIROSHIGE 

Pupil  of  Toyohiro.  Personal  name  Ando  Tokitaro.  First  studio  name 
Ichiyusai,  changed  a  little  later  to  Ichiryusai  Hiroshige.  Born  1797;  died 
October  12,  1858. 

182  Soshu,  Enoshima  Iwaya  no  Zu.  “Picture  of  the  grotto  on  the  south 
side  of  the  island  of  Enoshima,  province  of  Soshu  (Sagami).”  In  the 


73 


First  Afternoon 


foreground  a  great  breaker  curling  over  upon  the  rocks.  Series: 
Honcho  Meisho,  i.e.,  “Famous  Sights  of  the  Main  Island.”  Signed, 
Ichiryusai  Hiroshige  gwa. 

Size,  8%  x  13/4  inches.  Fine  impression,  in  fine  condition,  except 
that  it  has  been  slightly  trimmed  down. 

183  Ama-no-Hashidate.  The  famous  long  pine-clad  sand-spit  extending 

into  the  Bay  of  Miyazu.  Series ,  Honcho  Meisho.  Signed,  Hiroshige 
gwa. 

Size,  85/ 8  x  13 %  inches.  Good  impression,  in  good  condition. 

184  Ide  no  Tamagawa.  Narihira  and  his  attendants  fording  the  Ide  Tama 

River  in  Yamashiro  province,  the  banks  of  the  stream  lined  with 
yamabuki  flowers.  Series,  Mu  Tamagawa. 

Size,  8%  x  13%  inches.  Good  impression,  in  fine  condition. 

185  Toi  no  Tamagawa.  Women  on  the  bank  of  the  Toi  Tama  River  in 

Settsu  province  on  a  moonlight  night,  fulling  cloth  by  beating  it 
with  wooden  mallets  (kinuta).  Series,  Mu  Tamagawa. 

Size,  8%  x  13%  inches.  Fine  impression,  in  fine  condition  save  for 
a  stain  near  the  top  edge. 

186  A  Collection  of  Seals.  The  lacquer  cabinet  in  which  they  were  kept 

is  opened  and  the  several  boxes  arranged  so  as  to  expose  the  contents 
to  view.  Surimono.  Signed,  Hiroshige  fude. 

Size,  8%  x  7  inches.  Fine  impression,  in  fine  condition. 

CHUSHINGURA 

The  dramatized  version  of  the  vendetta  of  the  Forty-seven  Loyal  Ronin. 
Complete  set  of  fifteen  prints  published  by  Izumi-ya  Ichibei.  All  full  size, 
9%xl4.s%,  with  the  borders  intact.  Late  impressions,  in  good  condition. 
Each  print  signed,  Hiroshige  gwa. 

187  Scene  from  Act  I.  Ashikaga  Tadayoshi,  Moronao,  Wakasa-no-suke, 

and  Enya  Hangwan  seated  in  state  in  front  of  the  Hachiman 
Shrine  at  Tsurugaoka,  and  Kaoyo-gozen  mounting  the  steps 
followed  by  attendants  bearing  a  chest  containing  the  helmets  of 
Nitta  Yoshisada  and  his  henchmen. 

188  Act  II.  The  interview  between  Konami  and  Rikiya;  and  in  the  back¬ 

ground  Wakasa-no-suke  testing  the  fidelity  of  Iionzo. 


First  Afternoon 


74 


189  Act  III.  Bannai  receiving  from  Honzo  the  presents  sent  to  Moronao 

by  Wakasa-no-suke. 

190  Act  IV.  Goemon  and  Kuclayu  arriving  at  the  house  of  Enya  to  notify 

him  that  he  has  been  condemned  to  commit  seppuku. 

191  Act  V.  The  robbery  and  murder  of  Yoichibei  by  Sadakuro. 

192  Act  VI.  The  three  hunters  going  away  after  having  taken  Yoichibei 's 

body  to  his  house,  where  Goemon  and  Yagoro  are  shown  ar¬ 
riving. 

193  Act  VII.  The  banquet  at  the  Ichimonji-ya  seiro.  Yuranosuke  dis¬ 

pelling  the  suspicions  of  Kudayu  by  eating  fish  on  the  eve  of  the 
anniversary  of  Enya’s  death. 

194  Act  VIII.  Tonase  and  Konami  journeying  from  Edo  to  Yamashina. 

195  Act  IX.  The  arrival  of  Honzo  at  Yuranosuke’s  dwelling  at  Yamashina. 

196  Act  X.  The  pretended  policemen  knocking  at  the  door  of  Gihei’s  house. 

197  Act  XI,  Scene  I.  The  Loyal  Ronin  crossing  Ryogoku  bridge  and  em¬ 

barking  on  boats  to  reach  Moronao ’s  mansion. 

198  Act  XI,  Scene  II.  The  night  attack.  The  ronin  breaking  into  Mor- 

onao’s  mansion. 

199  Act  XI,  Scene  III.  The  killing  of  Moronao. 

200  Act  XI,  Scene  IV.  Yakushiji  Jiro  and  Sagisaka  Bannai,  and  another 

of  Moronao’s  retainers  intercepting  the  ronin  as  they  are  with¬ 
drawing  after  having  accomplished  their  purpose. 

201  Act  XI,  Scene  V.  The  ronin  halted  again  as  they  are  crossing  Ryogoku 

bridge  on  their  return.  On  the  print  this  scene  is  numbered  four 
by  mistake. 

202  Act  XI,  Final  Scene.  The  ronin  arriving  at  Komyoji,  the  Buddhist 

Temple  where  their  lord  Enya  Hangwan  worshipped,  and  where 
they  committed  seppuku. 


203  Fuchu.  The  second  street  in  the  licensed  quarter. 

Size,  6%  %  inches.  Poor  impression,  in  fair  condition. 


75 


First  Afternoon 


204  Tamagawa  Aki  no  Tsuki  Ayu-ryo.  Trout  fishing  in  the  Tama  River 

in  the  autumn  moonlight.  First  state,  before  the  changes  were 
made  in  the  mountains.  Series:  Meisho  Setsu-Gek-ka,  i.e., 
“Famous  Snow,  Moon,  and  Flower  Scenes."  Signed,  Hiroshige  gwa. 
Size,  9  x  13  fg  inches.  Good  impression,  in  good  condition. 

205  Trout  Swimming  in  a  Winding  Stream.  Signed,  Hiroshige  gwa. 

Size,  9  x  6 34  inches.  Ordinary  impression,  in  good  condition. 

206  Turtles  Swimming  amid  Water-weeds.  Signed,  Hiroshige  gwa. 

Size,  9  x  6%  inches.  Good  impression,  in  good  condition. 

207  Toiling  Through  the  Snow.  A  woman  trudging  through  deep  snow 

on  a  hillside,  carrying  a  large  basket  on  her  head.  Signed,  Hiroshige 
- — the  signature  at  the  right  nearly  all  trimmed  off. 

Size,  trimmed  to  87/g  x  3Y  inches.  Ordinary  impression. 

208  Ftiryu  Genji  Yoru  no  Niwa.  Fanciful  picture  of  Prince  Genii  going  into 

a  garden  at  night.  Landscape  by  Hiroshige,  and  figures  of  a  girl 
carrying  a  lantern  and  a  young  man  standing  on  the  veranda  of  a 
building  at  the  right,  by  Kunisada.  Dated  twelfth  month  ox  year 
(Kaei  6),  i.e.,  January  1854.  Signed,  Hiroshige  gwa  and  Toyokuni 
gwa. 

Triptych.  Size,  13}/ 2  x  281 2  inches.  Fine  impression,  in  good  con¬ 
dition. 

TWENTY  MOUNTS  FOR  UCHIWA  (ROUND  FANS) 

Hiroshige  made  many  designs  for  the  embellishment  of  the  round  fans  that 
were  in  common  use  by  every  one  in  the  warm  season.  The  few  impressions  of 
these  that  have  been  preserved  unused,  are  early  proofs.  The  twenty  here  listed 
are  ivories  of  much  distinction.  All  of  them  are  extremely  rare,  many  of  them 
perhaps  the  only  impressions  now  in  existence.  All  are  in  extremely  fine 
condition,  and  are  signed  Hiroshige  gwa. 

209  Gojo  no  Hashi  Sen  Nin  Giri.  “The  killing  of  a  thousand  people  on 

Gojo  bridge  in  Kyoto."  Musashi-bo  Benkei,  who  had  boasted 
that  he  would  slay  that  number  if  they  attempted  to  cross  the 
bridge  at  night,  coming  forward  to  attack  Ushiwaka-maru  (by 
whom  he  was  vanquished)  who  awaits  the  onset,  nonchalantly 
playing  upon  a  flute.  Series,  Ushiwaka  zue. 


First  Afternoon 


76 


No.  210 


210  Bu-yo,  Tsukuda  no  Ryosen.  Fishing  boats  off  Tsukuda  Island,  province 

of  Musashi.  Series:  Shokoku  Meisho,  i.e.,  “Famous  Sights  of  the 
Home  Country.” 

See  Illustration. 

211  Ugigawa  Hotaru  Gari  no  Zu.  Catching  fireflies  at  the  Ugi  River,  near 

Kyoto.  Series,  Shokoku  Meisho. 

212  Sakai  no  Kiban.  “Returning  Sails  at  Sakai,”  a  seaport  near  Osaka. 

A  geisha  going  home  at  early  dawn,  carrying  an  Odawara  lantern. 
Series,  Chushingura  Hakkei. 

213  Kazusa,  Kisarazu.  Passengers  and  baggage  being  carried  ashore  from 

craft  anchored  in  the  offing  at  Kisarazu  in  Kazusa.  Series:  Bo-so 
Meisho,  i.e.,  “Famous  Places  in  the  Provinces  of  Kazusa,  Shimosa, 
and  Hitachi.”  Dated,  eleventh  month  rat  year  (Ka-ei  5),  i.e., 
December  1852. 

214  Kominato.  Two  women  on  a  hillside  overlooking  the  fishing  village 

and  tiny  harbor  of  Kominato.  Series,  Bo-so  Meisho. 


77 


First  Afternoon 


215  Enoshima  Mode  Iwa-ya  Guchi  no  Zu.  Visiting  the  entrance  to  the 
“Rock-house”  cavern  at  Enoshima.  Women  picnicking  on  a  flat 
rock  that  is  nearly  under  water  at  high  tide.  Series:  Toto  Enshoku 
Meisho,  i.e.,  “Touring  to  Famous  Places  near  the  Eastern  Capital.” 


No.  216 


216  Mukashi  Banashi  Hana-saku  Yume.  “The  ancient  story  of  the 

dream  of  full-blooming.”  An  old  man  seated  on  a  hillside  holding 
a  basket  under  his  arm,  looking  down  at  cherry  trees  in  full  bloom, 
and  at  two  oharami  carrying  huge  bundles  of  fagots  upon  their 
heads.  Dated  first  month  ox  year  (Ka-ei  6),  i.e.,  February  1853. 
See  illustration. 

217  Doke  Soga  Monogatari.  Comic  representation  of  the  characters  in 

the  dramatized  story  of  the  Soga  brothers’  vendetta.  Scene:  A 
street  in  the  Yoshiwara  thronged  with  people,  each  one  of  whom  is 
in  some  way  designated.  To  describe  them  all  would  unduly  extend 
this  description,  but  the  famous  kusazuri-biki  scene  in  which 
Asahina  tore  off  the  skirt  of  Goro’s  armor  is  parodied  by  a  man, 
dressed  in  a  blue-and- white  kimono  having  a  pattern  of  convention¬ 
alized  cranes  with  wings  upturned  to  form  a  circle  (the  mon 
of  Asahina),  who  is  pulling  at  the  coat  of  another  man  whose 
garments  have  the  butterfly  pattern  that  signifies  Soga  no  Goro. 
Dated  1856. 


First  Afternoon 


78 


218  View  of  Fuji  from  the  Sea  at  Miho-no-Matsubara.  Aizuri — printed 

in  two  tones  of  blue. 

219  Night  Stalls.  Comic  street  scene  showing  dealers  selling  broiled 

sparrows,  the  rice  cakes  called  senbei,  and  other  commodities. 
Dated  March  1853.  Signed,  Hiroshige  Gi-gwa,  i.e.,  drawn  for  fun. 

220  Ongyoku  Machi  Hanka  no  Shonin.  Comic  representation  of  “Mer¬ 

chants  in  the  busy  Ongyoku  street.”  Dated  March  1853.  Signed, 
Hiroshige  Gi-gwa. 

221  Hashiba  no  Tsuki.  Moonlight  at  Hashiba.  Series:  Sumidagawa  San- 

kei,  i.e.,  “Three  Views  of  the  Sumida  River.” 

222  Minamoto  no  Yoshitsune.  The  famous  hero  in  full  armor,  mounted 

on  his  black  charger,  riding  along  the  seashore. 


No.  223 


223  Ancient  Pine  and  Full  Moon.  A  very  striking  design. 

See  illustration. 

224  Take.  A  large  bamboo  stalk  in  dull  and  glossy  black,  set  against  a 

background  of  fine  lines  of  pale  pink  and  pale  violet. 

Slightly  damaged,  a  small  piece  having  been  torn  out  near  the  top  edge. 

225  Nasubi.  Egg  plants  done  in  dull  and  glossy  black.  Companion 

piece  to  the  preceding  lot  and  having  a  similar  background. 
Trimmed  to  rectangular  shape,  6%  x  10  inches. 


79 


First  Afternoon 


226  Shirauo  ni  Kodai  ni  Shiba  Ebi  ni  Haze.  Whitebait,  little  black  bass, 

shrimps,  goby  and  other  small  fish,  in  a  net.  Dated  1848. 

227  Pine  Branch  and  Fish  Basket.  The  branch  extends  over  the  water  in 

which  the  basket  floats,  suspended  from  above  by  a  rope.  Dated 
sixth  month  tiger  year  (An-sei  1),  i.e.,  June  1854. 

228  Musume  Dojoji.  A  dancer  in  the  role  of  Kiyohime,  standing  on  a 

platform  above  which  hangs  a  temple  bell. 

Trimmed  to  rectangular  shape,  7  If  x  9  If  inches. 


229  Tsuchiyama.  Travellers  crossing  a  bridge  in  a  heavy  shower.  No.  49 

of  the  half-block  Tokaido  series  published  by  Tsuta-ya  Kinzo. 
Signed,  Hiroshige  gwa. 

Size,  6fi  x  8z/i  inches.  Poor  impression,  in  fair  condition. 

230  Kanaya  Oigawa  Em  Gan.  The  far  bank  of  the  Oi  River  at  Kanaya. 

From  a  harimaze  series.  Not  signed. 

Size,  5fs  x  9  inches.  Poor  impression,  in  fair  condition. 

231  Hara.  A  woman  standing  partly  behind  a  mammoth  bamboo  stalk. 

From  one  of  the  harimaze  Tokaido  series.  Signed,  Hiroshige 
fude. 

Size,  9%  x  2h/s  inches.  Fine  impression,  in  fine  condition. 

OMI  HAKKEI 

“Eight  Scenes  of  Omi.”  Complete  set  of  the  well-known  prints.  All  good 
impressions  and  full  size,  except  as  to  the  margins  which  have  been  trimmed  in 
mounting  so  that  only  aboid  a  sixteenth  of  an  inch  remains  on  all  four  sides. 
Each  print  signed  Hiroshige  gwa. 

232  Yabase  no  Kiban.  Returning  sails  at  Yabase. 

In  very  fine  condition. 

233  Mii-dera  no  Bansho.  The  vesper  bell  at  Mii  Buddhist  Temple. 

In  fine  condition. 

234  Seta  no  Sekisho.  The  evening  glow  at  Seta. 

In  fine  condition  save  for  a  small  moth  hole. 


First  Afternoon 


80 


No.  238 


235  Katada  no  Rakugan.  Geese  flying  down  at  Katada. 

A  small  piece  missing  at  the  right  edge  near  the  lower  corner;  otherwise 
in  very  fine  condition. 

236  Ishiyama  Aki  no  Tsuki.  The  autumn  moon  at  Ishiyama. 

Slightly  stained  on  the  sky;  in  fine  condition  otherwise. 

237  Awazu  no  Seiran.  Clear  weather  after  a  storm  at  Awazu. 

Except  for  a  slight  stain,  in  fine  condition. 

238  Hira  no  Bosetsu.  Evening  snow  on  Mount  Hira. 

In  fine  condition.  See  illustration. 

239  Karasaki  Ya-u.  Night  rain  at  Karasaki.  Impression  with  the  foliage 

of  the  famous  old  pine  darker  near  the  ground,  as  it  should  be. 

In  nearly  perfect  condition.  See  illustration. 

240  Shinshu  Sarashina  Tagoto  no  Tsuki.  The  moon  reflected  in  each 

rice-field  at  Sarashina  in  Shinshu.  A  group  of  men  and  women 
viewing  the  sight.  Dated  fifth  month  ox  year  (Ka-ei  6),  i.e.,  June 
1S53.  Signed,  Hiroshige  gwa. 

Triptych.  Size,  lll.1/ix29  inches.  Very  fine  impression,  in  fine 
condition. 


81 


First  Afternoon 


No.  239 

UTAGAWA  YOSHI-IKU 

Pupil  of  Kuniyoshi.  Used  the  studio  names  Chokaro  and  Ikkeisai  which 
in  later  years,  he  shortened  to  Keisai.  Worked  in  the  latter  half  of  the  nine¬ 
teenth  century. 

241  Makoto  no  Tsuki  Hana  no  Sugata-e.  “A  real  moon-flower  portrait.” 

A  silhouette  of  an  actor,,  and  a  small  portrait  of  him  in  a  circular 
cartouche  above.  Signed,  Ikkeisai  Yoshi-iku  fude. 

Size,  13%  x  9  inches.  Fine  early  impression,  in  good  condition. 

UTAGAWA  YOSHITOSHI 

Pupil  of  Kuniyoshi.  Worked  in  the  latter  half  of  the  nineteenth  century. 

242  Tonyoku  no  Baba.  “The  selfish  old  woman”  opening  the  basket  of 

goblins.  Illustration  of  the  legend  of  the  tongue-cut  sparrow,  one 
version  of  which  is  given  in  Mitford  s  “  Tales  of  Old  Japan. 
Series:  Wa-kan  Hyaku  Monogatari,  i.e.,  “One  Hundred  Chinese 
and  Japanese  Stories  of  Devils.”  Signed,  Ikkisai  \  oshitoshi 
gwa. 

Size,  13%  x  8%  inches.  Good  impression,  in  good  condition. 


First  Afternoon 


82 


UTAGAWA  YOSHITORA 

Pupil  of  Kuniyoshi.  Used  the  names  of  Kinchoro  and  Ichimosai.  After 
1874,  he  shortened  the  latter  to  Mosai. 

243  In  Falling  Snow.  A  woman  standing  under  an  umbrella  on  the  bank 

of  the  Sumida  River  in  a  snow  storm.  Middle  sheet  of  a  triptych. 
Signed,  Ichimosai  Yoshitora. 

Size,  15  x  10  inches.  Ordinary  impression,  in  good  condition. 

244  Yutsumi  Bashi  no  Zu.  View  of  Yutsumi  bridge  and  the  roofs  of  the 

city,  Mt.  Fuji  in  the  distance.  Signed,  Ichimosai  Yoshitora  gwa. 
Size,  8}  2  x  13%  inches.  Good  impression,  in  good  condition. 

UTAGAWA  YOSHITSUYA 

Pupil  of  Kuniyoshi.  Worked  in  the  middle  of  the  nineteenth  century, 
perhaps  later. 

245  Kato  Kiyomasa  Killing  the  Korean  Tiger.  It  is  related  that  he 

despatched  the  tiger  with  his  spear,  but  not  until  the  beast  had 
broken  off  one  of  the  prongs  in  the  struggle.  Signed,  Ichiyeisai 
Yoshitsuya.  About  1848. 

Triptych.  Size,  14  x  29  inches.  Good  impression,  in  good  condition. 

UTAGAWA  YOSHIKAZU 

Pupil  of  Kuniyoshi.  Worked  from  about  1840  to  1860,  and  perhaps  later. 

246  Tadanobu  Yoshi  no  Yama  ni  Chusen  no  Zu.  Sato  Tadanobu,  wearing 

the  armor  of  Yoshitsune,  defying  the  monks  of  Yoshino  who 
attacked  the  famous  hero  and  his  little  band  of  faithful  retainers 
when  they  were  fleeing  from  Yoritomo.  Yokogawa  Kakuhan,  the 
leader  of  the  yamabushi,  who  is  shown  in  the  middle  sheet,  was 
slain  by  Tadanobu  in  the  duel  that  ensued,  and  the  doughty  young 
warrior,  having  stood  off  the  enemies  until  Yoshitsune  had  time 
to  escape,  succeeded  in  getting  away  himself.  In  the  left-hand 
sheet  Sharen  Hogan,  another  of  the  warrior  monks,  is  shown. 
Dated  fifth  month  horse  year  (Ansei  5),  i.e.,  June  1858.  Signed, 
Ichijusai  Yoshikazu  gwa. 

Triptych.  Size,  13}4  x  28{/>  inches.  Fine  impression,  in  fine  condition. 


83 


First  Afternoon 


247  Noshu  Anamayama  San-chu  Nite  Yamazami  Taiji  no  Zu.  The 

killing  of  a  “mountain  shark”  at  Mt.  Anama  in  Noshu.  Right- 
hand  sheet  of  a  triptych.  Signed,  Ichijusai  Yoshikazu  gwa. 

Size,  13 Yu  x  9x  s  inches.  Fine  impression,  slightly  trimmed  at  the  top. 

248  A  Frog  of  Frogs.  Many  frogs,  brown  and  green,  clambering  over 

each  other  and  presenting  the  appearance  of  a  single  gigantic  frog, 
with  a  cloud  of  vapor  rising  from  its  mouth,  in  which  is  seen  a 
vision  of  a  palatial  dwelling.  Signed,  Ichijusai  Yoshikazu. 

Size,  14  x  9  Yi  inches.  Good  impression,  in  good  condition. 

249  Minamoto  Yoshitsune  Taira  no  Tomomori  Rei  ni  Au  no  Zu.  Yoshit- 

sune  and  his  retainers,  while  crossing  Daimotsu  Bay  off  the  coast 
of  Settsu  in  a  howling  gale,  see  the  ghosts  of  Tomomori  and  the 
other  Taira  warriors  slain  at  the  battle  of  Ichi-no-Tani  rise  from 
the  sea  with  long  tongues  of  flame  playing  about  them  amid  the 
foaming  breakers.  Signed,  Ichijusai  Yoshikazu.  About  1848. 
Triptych.  Size,  13  J  g  x  30  inches.  Fine  impression,  in  fine  condition. 


SECOND  SESSION 

MONDAY  EVENING,  FEBRUARY  6,  1922 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8:00  O’CLOCK 

Catalogue  numbers  250  to  4-97 


No.  250 

SUZUKI  HARUNOBU 

C.  1730—1770 

250  Chrysanthemums  and  Moon.  Dwarf  chrysanthemums  in  bloom  in  a 
large  blue-and- white  jardiniere.  A  gray  cloud  with  the  round  white 

85 


First  Evening 


86 


No.  253 

disc  of  the  full  moon  rising  above  it  forms  the  background.  Not 
signed. 

Size,  1 0  ?  s  x  7  Vi  inches.  Fine  impression,  not  in  very  good  condition; 
soiled.  See  illustration . 

From  the  Vieomte  de  Sartiges  collection 

251  The  Hole  in  the  Wall.  A  young  noble  crawling  through  a  hole  in  a 

high  brick  wall  to  pay  a  clandestine  visit  to  his  lady  love  who 
stands,  awaiting  him.  A  modernized  version  of  one  of  the  incidents 
related  in  the  Ise  Monogatari.  Not  signed. 

Size,  10%  x  7%  inches.  Fine  impression,  in  fine  condition. 

252  Picking  Spring  Flowers.  Two  girls  standing  under  a  blossoming 

cherry  tree,  one  of  them  bending  over  to  gather  flowers  that  grow 
on  the  ground  at  their  feet.  Signed,  Suzuki  Harunobu  gwa. 

Size,  10 %  x  7%  inches.  Good  impression,  in  fair  condition,  color 
slightly  didled  by  fading. 


87 


First  Evening 


254 


253  Youthful  Wrestlers.  Two  boys  having  a  wrestling  match  while  a  third 

boy  acts  as  an  umpire.  Signed,  Suzuki  Harunobu  gwa. 

Size,  10%  x  7%  inches.  Fine  impression,  in  very  fine  condition.  See 
illustration. 

254  Hulling  Rice.  A  woman  turning  the  cylinder  of  a  rice-hulling  machine 

turns  to  look  at  a  hototogisu  (cuckoo)  flying  overhead,  to  which 
her  small  son,  who  stands  by  the  machine  holding  a  cord  attached 
to  the  neck  of  a  turtle,  is  pointing.  Not  signed. 

Size,  10%  x  8%  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

255  Hatsugoi.  “First  Love.”  A  pair  of  young  lovers  standing  beside  a 

well-curb,  a  modern  analogue  of  an  incident  related  in  the  Ise 
Monogatari. 

Size,  11  x  8  inches.  Good  impression,  in  poor  condition. 


First  Evening 


88 


256-  Setting  Off  Sparklers.  A  girl  seated  on  a  platform  of  the  Ise-va  tea¬ 
house  extending  over  the  river,  is  setting  off  sparklers  fastened  to  a 
small  board  floating  upon  the  water.  A  young  woman  stands  beside 
her  looking  on,  and,  in  a  netted  bag  tied  to  the  corner  post  of  the 
tea-house,  melons  are  being  cooled  in  the  stream.  Signed,  Suzuki 
Harunobu  gwa. 

Size,  10%  x  7%  inches.  Good  impression,  in  good  condition. 

257  Woman  Weaving.  A  woman  seated  at  a  large  loom,  a  shuttle  held  in 

her  upraised  right  hand,  while  a  small  boy  squatting  on  the  floor 
lifts  her  skirt  to  show  how  she  works  the  loom  by  a  cord  wound 
about  her  foot.  Not  signed. 

Size,  101/ 8  x  7%  inches.  Fine  impression,  in  poor  condition;  faded  and 
soiled. 

258  The  Beginning  of  Love.  A  youth  climbing  upon  a  ladder  to  release  a 

shuttlecock  that  has  caught  upon  a  branch  of  a  blossoming  plum 
tree.  A  girl  for  whom  he  is  performing  the  service  stands  at  the 
foot  of  the  ladder  holding  in  one  hand  a  battledore,  and  in  the 
other  a  folded  love-letter  to  give  him  as  his  reward.  Signed, 
Suzuki  Harunobu  gwa. 

Size,  11x8 %  inches.  Fine  impression,  in  good  condition. 


IPPITSUSAI  BUNCHO 

Pupil  of  Ishikawa  Takamoto.  Family  name  Mori.  From  about  1768  to 
about  1 775  designed  prints  in  the  style  of  Shunsho,  but  with  a  distinctive  personal 
touch  of  his  own.  Dates  of  birth  and  death  unknown. 

259  On  Parade.  An  oiran  and  her  kamuro  promenading,  attended  by  a 

matron.  One  of  a  series  without  title  but  designated  by  a  folded 
love-letter  upon  which  the  name  of  a  woman  appears.  Signed, 
Ippitsusai  Buncho  gwa. 

Size,  11%  x  5%  inches.  Good  impression,  in  good  condition.  See 
illustration. 

260  The  Same.  Ink-proof  from  the  key-block. 

In  fine  condition. 


89 


First  Evening 


261  The  Second  Sanogawa  Ichimatsu  as  Soga  no  Goro  in  “Fuji  no  Yuki 
Kaikei  Soga”  at  Ichimura-za,  February  1770.  Fie  is  depicted 
standing  on  the  bank  of  a  river  that  is  crossed  by  a  dobashi  or 
bridge  having  an  earth-covered  floor.  Signed,  Ippitsusai  Buncho 
gwa. 

Size,  12l/ix55/$  inches.  Fine  impression,  in  good  condition,  despite 
the  fading  of  the  colors. 


No.  259 


262  The  Ichimonji-ya  scene  from  “Chushingura”  as  performed  at  the 
Nakamura-za  in  1771,  the  first  Ichikawa  Komazo  as  Yuranosuke, 
and  Nakamura  Matsue  as  Okaru.  Signed,  Ippitsusai  Buncho 
gwa. 

Size,  12)4  x5A  inches.  Good  impression,  in  good  condition,  though 
somewhat  faded. 


First  Evening 


90 


263  The  Second  Ichikawa  Yaozo  as  a  man  wearing  a  cap  of  green  gauze, 

standing  in  a  room  beside  a  tsuitate  (a  kind  of  screen)  bearing  a 
picture  of  rice  stacks  and  chrysanthemums.  Signed,  Ippitsusai 
Buncho  gwa. 

Size,  12%  x  5%  inches.  Fine  impression,  in  fine  condition. 

From  the  Vicomte  de  Sartiges  collection 

% 

264  The  Ninth  Ichimura  Uzaemon  as  a  bird-seller  standing  in  a  railed 

enclosure  at  a  Shinto  Shrine,  his  bird-cages  resting  on  the  ground 
by  his  side.  Signed,  Ippitsusai  Buncho  gwa. 

Size,  12%  x  57/s  inches.  Fair  impression,  a  good  deal  faded. 

From  the  Vicomte  de  Sartiges  collection 

265  The  First  Ichikawa  Komazo  as  Suruga  no  Jiro  in  “  Ima-o-sakari 

Suehiro  Genji,”  the  Kaomise  play  at  Nakamura-za,  December  1768. 
He  stands  by  a  wrestling  arena  and  holds  across  his  shoulder  a 
chrysanthemum  stalk  with  a  white  blossom  and  two  red  ones.  In 
this  play  the  scene  of  kiku-zomo  (chrysanthemum  wrestling)  was 
a  brilliant  success.  Signed,  Ippitsusai  Buncho  gwa. 

Size,  12%  x  5%  inches.  Fine  impression,  in  good  condition. 

From  the  Vicomte  de  Sartiges  collection 

266  Nakamura  Matsue  as  a  woman  standing  under  a  cherry  tree  by  a 

sleeve-fence,  holding  an  infant  in  her  arms.  Signed,  Ippitsusai 
Buncho  gwa. 

Size,  1 1%  x  5%  inches.  Good  impression,  in  good  condition  though 
somewhat  faded. 

267  Scene  from  a  Drama.  The  second  Segawa  Kikunojo  as  a  woman 

standing  holding  a  tama  (crystal  ball)  in  her  upraised  right  hand, 
and  the  first  Nakamura  Nakazo  as  a  man  seated  on  the  ground 
beside  her  with  a  drawn  sword  in  his  hands.  Behind  them  is  a 
dobashi  crossing  a  stream  where  iris  are  in  bloom.  This  perhaps 
represents  the  actors  as  Keisei  Tamagiku  and  Yamaoka  no  Saburo 
in  “Kawaranu  Hana  Sakae  Hachinoki,”  the  Kaomise  play  at 
Nakamura-za,  December  1769.  Signed,  Ippitsusai  Buncho  gwa. 

Size,  12%  x  5%  inches.  Fine  impression,  somewhat  faded,  in  good 
condition  otherwise. 

268  The  Second  Segawa  Kikunojo  dancing  “Shakkyo,”  a  shosa  (mimetic 

dance  peculiar  to  the  theatre),  representing  lion  cubs  playing  amid 


91 


First  Evening 


No.  267 


No.  268 


peonies  growing  at  the  ends  of  a  stone  bridge.  The  second  Kikunojo 
was  especially  good  in  this  dance.  The  print  depicts  him  in  his 
last  appearance  in  the  role,  second  Act  of  “Soga  Aigo  no  Waka- 
matsu,”  at  Nakamura-za,  February  1769.  Signed,  Ippitsusai 
Buncho  gwa. 

Size,  12]/2  x  5%  inches.  Fine  impression,  faded,  in  good  condition 
otherwise.  See  illustration. 

269  A  Fantasy.  A  pair  of  young  lovers  crossing  the  sea  standing  upon  an 
enormous  lobster  curved  to  resemble  a  boat.  The  girl  is  reading  a 
love-letter  which  is  also  being  read  by  an  octopus  that  clings  to 
the  lobster  at  her  feet.  As  the  ebi  (his  red  color  in  this  case  suggests 
that  he  has  been  boiled)  is  a  common  symbol  in  Japan  for  old  age 
when  the  back  is  bent,  and  the  octopus,  because  of  the  tenacity  of 


First  Evening 


92 


its  suckers  vulgarly  connotes  inseparable  attachment,  the  design 
of  the  print  is  intended  to  express  the  sentiment,  “  May  the  young 
couple  live  long  and  always  be  devoted  to  one  another.”  Signed, 
Ippitsusai  Buncho  gwa. 

Size,  10  x  7x/\ 2  inches.  Good  impression,  in  good  condition. 


No.  270 


HARUNOBU  AND  BUNCHO 

270  Oiran  and  Actor.  An  oiran  standing  in  front  of  a  tsuitate  bearing  a 
painting  of  the  New  Year  good  luck  emblems,  a  crane  and  young 
pine  trees,  looking  down  at  an  actor  who  is  seated  at  her  feet  and 
has  caught  her  obi  with  both  hands  and  has  partly  untied  it.  In 
the  background  at  the  left  is  a  shimadai,  a  small  table  supporting 
an  assemblage  of  good  luck  symbols  customarily  used  as  a  decorative 


93 


First  Evening 


adjunct  at  a  marriage  ceremony.  The  drawing  of  the  woman  signed, 
Harunobu  gwa;  that  of  the  man,  Ippitsusai  Buncho  gwa. 

Size,  1 1  I  s  x  8 bs  inches.  Fine  impression,  in  good  condition.  See 
illustration. 


No.  271 

ISODA  KORYtJSAI 

Worked  C.  1768-1786 

271  Ike-no-Hata  Bosetsu.  Evening  snow  at  Ike-no-Hata.  A  young 
woman  in  black,  with  a  purple  (now  much  faded)  zukin  about  her 
head  walking  in  the  snow,  under  a  large  umbrella,  and  accompanied 
by  a  young  boy.  Series:  Azuma  no  Sato  Eika  Hakkei,  i.e.,  “Eight 
Views  of  Blooming  Flowers  in  Eastern  Villages.”  Signed,  Koryu  gwa. 

Size,  9%  x  7%  inches.  Good  impression,  in  good  condition  despite 
the  fading  of  the  colors.  See  illustration.  Illustrated  also  on  Plate 
XXXIX,  V.-I.  “Harunobu,  Koriusai,  Shunsho”  Catalogue. 


First  Evening 


94 


272  The  Awabi-shell  Diver.  A  woman,  nude  save  for  a  red  cloth 

wrapped  about  her  loins,  standing  on  a  rock  by  the  sea  at  Ise, 
wringing  the  water  from  one  end  of  her  garment.  Signed, 
Koryusai  fude. 

Hashira-e.  Size,  27%  x  Jf%  inches.  Fine  impression,  in  fair  con¬ 
dition  Illustrated  on  Plate  XXXIII  of  the  V.-I .  “Harunobu,  Koriusai, 
Shunsho”  Catalogue. 

273  Mother  and  Son.  A  tall  woman  standing,  baring  her  breast  and  looking 

at  her  young  son  who  stands  close  beside  her,  blowing  upon  a  pom¬ 
pon  and  gazing  up  at  her.  Signed,  Koryu  gwa. 

Hashira-e.  Size,  26%  %  inches.  Ordinary  impression,  in  fine 
condition. 

274  A  Lucky  Dream.  A  woman  asleep  on  the  second  night  of  the  New  Year, 

seated  by  a  small  table,  and  dreaming  of  Mt.  Fuji,  a  falcon,  and 
three  egg-plants,  an  omen  of  good  luck  for  the  ensuing  twelve 
months.  Signed,  Koryu  gwa. 

Hashira-e.  Size,  27  x  4%  inches.  Ordinary  impression,  in  fair 
condition. 

275  Chozan  of  Choji-ya  seated,  holding  a  duster  in  her  hand,  and  watching 

a  bird  in  a  tall  cage.  Series,  Seiro  Tokiwa  Nishiki.  Signed,  Kor¬ 
yusai  zu. 

Size,  8%  x  6  inches.  Fine  impression,  in  fine  condition. 

276  A  Beast  of  Prey.  A  black-and-white  kitten  that  has  captured  a  large 

cicada  and  stands,  holding  it  in  her  mouth,  in  a  garden  where 
morning  glories  are  in  bloom.  Signed,  Koryu  gwa. 

Size,  9  x  6%  inches.  Ordinary  impression,  in  fair  condition. 

From  the  Vicomte  de  Sartiges  collection 

277  A  Fishing  Excursion.  A  black-and-white  kitten  leaning  over  the 

edge  of  a  porcelain  bowl,  with  one  paw  in  the  water,  eagerly  watch¬ 
ing  the  gold  fish  that  are  swimming  about.  In  the  background, 
young  cocoa  palms  in  a  wooden  jardiniere.  Signed,  Koryusai 
gwa. 

Size,  10%  x  7%  inches.  Fine  impression,  in  very  fine  condition. 
From  the  Vicomte  de  Sartiges  collection 


95 


First  Evening 


No.  278 


278  Mangiku  of  Kiribishi-ya  on  parade  attended  by  her  kamuro.  Series, 

Hinagata  Wakana  no  Hatsu  Moyo.  Signed,  Ivoryusai  gwa. 

Size,  1 4 M  x  10  inches.  Fine  impression,  in  very  fine  condition.  See 
illustration. 

TORII  KIYONAGA 

1752—1813 

279  Ara-i  Zaki  no  Chiyomi  Gusa.  Two  women  walking  on  the  sands  by 

the  sea  at  Arai  point.  Series:  Minami  Ju  Kei,  i.e.,  “Ten  Views  of 
the  Southern  District.”  Signed,  Kiyonaga  gwa. 

Size,  8%  x  6'JT  inches.  Fine  impression,  in  fine  condition. 


No.  280 


No.  281 


97 


First  Evening 


280  Two  Geisha.  A  tall  woman  in  black  standing,  looking  down  at  an¬ 

other  geisha  who  is  seated,  holding  a  cup  of  sake.  Signed,  Kiyonaga 
gwa. 

Hashira-e.  Size,  27  x  4 Vs  inches.  Good  impression,  in  good  condi¬ 
tion.  See  illustration. 

281  The  Wind  that  Waves  the  Willow  Branches.  A  young  woman  under 

a  willow  in  a  gale  of  wind,  her  skirts  and  the  branches  of  the  tree 
blown  sharply  toward  the  left.  Signed,  Kiyonaga  gwa. 

Hashira-e.  Size,  27l/i  x  4XA  inches.  Extremely  fine  impression  of  one 
of  Kiyonaga' s  most  distinguished  prints,  in  remarkable  preservation. 
See  illustration. 

282  Carrying  Her  Ashore.  A  young  woman  being  carried  ashore  at 

Enoshima  on  the  shoulders  of  a  man  who  wades  through  water 
that  is  waist  deep.  Signed,  Kiyonaga  gwa.  This  is  the  only 
impression  of  this  print  that  has  come  under  the  observation  of 
the  writer  of  this  catalogue. 

Hashira-e.  Size,  26%  x  4Vs  inches.  Good  impression,  in  good  con¬ 
dition. 

283  A  Popular  Beauty.  Segawa  of  Matsuba-ya  walking  in  the  Naka-no- 

Cho,  attended  by  her  kamuro,  Sasano  and  Takeno.  Series:  Hina- 
gata  Wakana  no  Hatsu  Moyo.  Signed,  Kiyonaga  gwa. 

Size,  15%  x  10%  inches.  Ink-impression  from  the  key-block.  In  very 
good  condition.  Shows  the  register  marks  on  the  right  edge  and  in  the 
lower  corner. 

284  Yagenbori.  This  is  the  name  of  one  of  the  districts  in  Edo.  A  young 

woman  is  shown  turning  to  speak  to  another  woman  standing  at 
the  entrance  to  a  tea-house,  as  she  passes  it,  followed  by  a  man 
servant  bearing  her  luggage.  Series:  Chamise  Ju  Kei,  i.e.,  “Ten 
Views  of  Tea-booths.”  Signed,  Kiyonaga  gwa. 

Size,  9%  x  6%  inches.  Ordinary  impression,  in  good  condition. 

285  Gotenyama.  Two  women  resting  at  the  Wakana-ya  tea-house  on 

Goten  hill  at  Shinagawa.  Series,  Chamise  Ju  Kei.  Signed, 
Kiyonaga  gwa. 

Size,  10%  x  7%  inches.  Good  impression,  in  good  condition. 


First  Evening 


98 


286  Shitaya.  Two  women  looking  at  mandarin  clucks  in  a  tank  in  one  of 
the  large  cages  at  the  Kujaku  Ja-ya  (Peacock  tea-house)  at  Shita¬ 
ya.  Series,  Chamise  Ju  Kei.  Signed,  Kiyonaga  gwa. 

Size,  9%  x  61/ 8  inches.  Good  impression,  in  poor  condition. 


No.  287 


287  The  Fourth  Month:  Music  and  Sake  by  the  Sea.  This  is  the  diptych, 
generally  regarded  as  Kiyonaga’s  masterpiece,  which  is  often, 
though  erroneously,  catalogued  as  “The  Terrace  by  the  Sea.”  It 
is  a  picture  of  a  young  man  and  six  women  making  merry  with 
music  and  sake  in  the  parlor  of  a  “green  house”  by  the  sea  at 
Shinagawa.  Through  a  wide  window  back  of  them  is  a  charming 
prospect  of  the  beach  at  low  tide  and  junks  at  anchor  just  off  the 
shore  of  Edo  Bay.  Series,  Minami  Ju-ni  Ivo.  Signed,  Kiyonaga 
gwa. 

Size,  UFA  x  19%  inches.  Fair  impression,  softly  faded,  hut  still 
retaining  much  color  charm. 


99 


First  Evening 


288  Kokaji  of  Ogi-ya  parading  in  the  Naka-no-Cho,  attended  by  her 
kamuro  and  two  shinzo.  Series,  Hinagata  Wakana  no  Hatsu 
Moyo.  Signed,  Kiyonaga  gwa. 

Size,  1  If f>  x  10  inches.  Ordinary  impression ,  in  fair  condition. 


No.  289 

289  Fuji  Appearing  Above  the  Clouds.  A  lady  seated  on  a  wide  wooden 
bench,  a  woman  attendant  standing  in  waiting  at  the  left,  and  a 
girl  kneeling  in  the  foreground  holding  a  tobako-bon.  In  the  back¬ 
ground  a  white  cloud  and  the  cone  of  Mt.  Fuji  showing  above  it. 
An  ode  says,  “When  the  white  clouds  lift  Fuji  appears.”  Left- 
hand  sheet  of  a  diptych.  Signed,  Kiyonaga  gwa. 

Size,  15%  x  10%  inches.  Fine  impression,  in  very  fine  condition. 
See  illustration. 


First  Evening 


100 


290  Sugatami  of  Tsuru-ya  promenading,  accompanied  by  her  kamuro  and 

a  shinzo.  Series:  Seiro  Shiki  Ju-ni  Hanagata,  i.e.,  “Twelve  Floral 
Types  of  the  Four  Seasons  from  the  Green  Houses.”  Signed, 
Kiyonaga  gwa. 

Size,  10  x  7 34  inches.  Good  impression,  in  good  condition. 

291  Onna  San  Gu.  “Three  Women.”  Two  of  them  are  upon  the  floor  of 

a  parlor  playing  with  a  white  kitten;  the  third  stands  looking 
down  at  them.  Series:  Bijin  Ryaku  Shu,  i.e.,  “Simple  Assemblage 
of  Beauties.”  Signed,  Kiyonaga  gwa. 

Size,  9%x7}/i  inches.  Good  impression,  trimmed  from  10x7% 
inches,  otherwise  in  good  condition. 


KATSUKAWA  SHUNCHO 

Pupil  of  Shunshd.  Followed  the  style  of  Kiyonaga ,  and  in  his  later  works 
imitated  the  style  of  Eishi  and  other  artists  of  the  Kwansei  period.  Dates  of 
birth  and  death  not  known.  Worked  from  about  1780  to  1795. 

292  Naniwa-ya  O  Kita.  A  half-length  portrait  of  the  popular  waitress, 

who  is  shown  walking  toward  the  right  carrying  a  bowl  of  tea  on 
a  red  lacquer  tray.  Mica  ground.  Not  signed. 

Size,  15%  x  10%  inches.  Fine  impression,  in  good  condition,  not¬ 
withstanding  a  bad  tear  extending  across  the  sleeve,  with  a  piece  colored 
to  match  the  outer  garment  fitted  in  to  take  the  place  of  one  that  is  missing. 
See  illustration. 

292a  Celebration  of  the  Boys’  Festival.  This  festival  takes  place  on  the 
fifth  day  of  the  fifth  month.  In  this  print,  which  is  the  left-hand 
sheet  of  a  triptych,  a  woman  has  her  arms  about  another  woman 
to  restrain  her  from  taking  the  drink  of  sake  that  a  maid  is  trying 
to  serve  to  her,  and  back  of  this  group  a  tall  woman  stands  looking 
toward  the  right.  Signed,  Shuncho  gwa. 

Size,  15  x  9%  inches.  Good  impression,  in  fine  condition. 

293  The  Botan  Show.  Three  tall  women,  one  of  them  carrying  a  black 

lap-dog,  walking  toward  the  right  to  view  the  flowers.  Left-hand 
sheet  of  a  triptych.  Signed,  Shuncho  gwa. 

Size,  14%  x  91/ 8  inches.  Fine  impression,  in  fair  condition. 


101 


First  Evening 


No.  292 


294  An  Outing  at  Oshiagi.  A  family  group  on  the  near  bank  of  a  canal 
in  the  grounds  of  a  Shinto  shrine  at  Oshiagi  in  the  Honj5  district. 
On  the  farther  bank  of  the  canal  is  a  road  and  beyond  that,  rice 
fields.  This  district  has  been  built  up  for  many  years  past.  In 
the  eighteenth  century  it  was  still  for  the  most  part  open  fields. 
Signed,  Shunchd  gwa. 

Triptych.  Size,  lflAx291/i  inches.  Ordinary  impression,  in  fair 
condition.  Could  be  improved  by  pressing  and  remounting. 


No.  296 


103 


First  Evening 


No.  295 


295  The  New  Year’s  Holiday.  A  group  of  women  on  the  veranda  of  a 

great  house.  One  who  is  seated  holds  a  ball  for  playing  main; 
two  in  the  foreground  at  the  right,  carry  battledores;  two  stand 
back  of  the  others,  one  of  them  holding  a  sugoroku  box.  Right- 
hand  sheet  of  a  triptych  entitled,  "Go  Settshu”  (The  Five  Fes¬ 
tivals).  Signed,  Shuncho  gwa. 

Size,  1 4 1 "2  x  9  Fs  inches.  Fine  impression,  in  fine  condition.  See  illustration . 

296  Oiran  Visiting  a  Shinto  Shrine.  At  the  right,  Komurasaki  of  Ivado- 

tama-ya;  in  the  center,  Maiyuzumi  of  Daimonji-ya;  at  the  left, 
Sugawara  of  Tsuru-ya,  each  attended  by  kamuro  and  shinzo. 
Signed,  Shuncho  gwa. 

Triptych.  Size,  12x/>  x  2ox/i  inches.  Fine  impression,  in  fine  con¬ 
dition.  See  illustration. 


First  Evening 


104 


297  In  Holiday  Attire.  A  group  of  women  on  the  veranda  of  a  great  house. 

One  sheet  of  a  triptych  or  a  pentaptych.  From  this  sheet  alone 
the  subject  of  the  entire  composition  cannot  be  determined. 
Signed,  Shuncho  gwa. 

Size,  15^x9]^  inches.  Fine ,  though  not  perfect  impression,  in  good 
condition. 


No.  299 


298  The  Bunch  of  Iris.  The  oiran  Kuniyo  of  Yodo-ya,  her  kamuro''and  a 
shinzo  enjoying  the  moonlight  on  a  summer  evening,  the  kamuro 
holding  up  a  fine  bunch  of  iris  flowers  for  the  shinzo  to  admire. 
Printed  in  tones  of  gray.  Signed,  Shuncho  gwa. 

Size,  14%  %  10lA  inches.  Ordinary  impression,  in  poor  condition. 


105 


First  Evening 


HOSODA  EISHI 

1756-1829 

299  Prince  Genji  in  Exile  at  Suma.  Left-hand  sheet  of  one  of  the  trip- 

tychs  of  the  series  Fiiryu  Yatsushi  Genji,  i.e.,  “Fanciful  Trans¬ 
formed  Genji  Monogatari.”  A  corner  of  Prince  Genji’s  lodge  is 
shown,  with  two  women  standing,  looking  down  at  a  girl  who  is 
playing  with  a  kitten.  In  the  background  is  a  vista  of  Suma 
beach  and  the  water  of  Osaka  Bay.  Printed  in  violet,  gray  and 
black.  Signed,  Eishi  gwa. 

Size,  14fs  x  9  A  inches.  Good  impression,  in  good  condition.  See 
illustration. 

300  The  Wayside  Tea-booth.  A  party  of  men,  women  and  children  out 

for  a  holiday,  pausing  at  a  wayside  tea-booth  in  the  Honjo  dis¬ 
trict.  Though  within  the  city  of  Edo,  this  district,  at  the  time 
this  print  was  designed,  was  for  the  most  part  open  country. 
The  scene  is  the  same  as  that  depicted  in  the  triptych  by 
Shuncho  (see  No.  294),  but  the  people  are  upon  the  road  shown 
in  that  print,  running  along  the  farther  side  of  the  river.  Signed, 
Eishi  gwa. 

Triptych.  Size,  13lA  %  29}/ s  inches.  Good  impression,  in  fair  con¬ 
dition,  colors  softly  faded. 

301  Hinazuru  of  Choji-ya  seated  on  a  rug,  a  reading-stand  and  books 

beside  her,  and  an  uchiwa  in  her  hand.  Series:  Seiro  Bijin  Rok- 
ka-sen,  i.e.,  “Six  Flowery  Beings  of  the  Green  Houses.”  Signed, 
Eishi  gwa. 

Size,  1 4  A  x  9  A  inches.  Good  impression,  in  good  condition. 

302  The  Round  Window.  A  group  of  oiran  seated  in  a  room  on  a  day 

in  winter,  one  of  them  pointing  to  the  snow-clad  landscape 
seen  through  a  round  window  overlooking  Nippon  embarkment 
along  which  a  man  is  being  carried  in  a  kago.  Double  page 
illustration  from  an  album  of  poems.  Signed,  Chobunsai 
Eishi  zu. 

Size,  8%  x  UFA  inches.  Fine  impression,  in  fine  condition. 


First  Evening 


106 


No.  303 


303  Making  Yaki-dofu.  Three  young  women  at  a  garden  party.  One  is 
broiling  slices  of  tofu  (bean-curd),  impaled  on  skewers,  another 
bends  over  to  speak  to  her  and  the  third  is  taking  a  basket  of  the 
yaki-dofu  to  serve  to  people  not  shown  upon  this,  the  middle 
sheet  of  a  triptych.  Signed,  Eishi  gwa. 

Size,  12%  x  8%  inches.  Fine  impression,  trimmed  a  very  little  at  the 
foot .  otherwise  in  perfect  condition.  See  illustration. 


107 


First  Evening 


REKISENTEI  EIRI 

Said  to  have  been  a  pupil  of  Hasegawa  Mitsunobu,  though ,  in  his  prints 
he  did  not  follow  that  artist's  style.  Nothing  is  known  about  his  life.  He 
was  much  influenced  by  Eishi.  Worked  in  the  Kwansei  period  ( 1789-1801 ). 

304  Chofu  no  Tamagawa.  A  woman  washing  cloth  in  the  Tama  River  in 
Musashi  province,  treading  it  with  bare  feet.  Series,  Mu  Tama¬ 
gawa.  Signed,  Rekisentei  Eiri  gwa. 

Size,  12%  %  8%  inches.  Ordinary  impression,  in  fair  condition. 


KUBO  SHUNMAN 

Personal  name  Kubota  Yasubei.  Studied  under  obscure  painters,  then 
under  Shigemasa.  His  works  are  greatly  admired  for  their  esoteric  quality. 
Designed  many  surimono.  Born  1757;  died  October  26,  1820.  His  studio 
name  though  written  with  the  characters  “Shun”  and  “Man,”  should  be  pro¬ 
nounced  Shumman. 

305  Futami  ga  Ura.  View  of  Futami  beach  at  Ise,  showing  the  so-called 

“Husband  and  Wife  rocks,”  and  the  sun  just  rising  above  the 
horizon.  Signed,  Kubo  Shunman  gwa. 

Size,  7 34  x  10%  inches.  Fine  impression,  in  fair  condition. 

306  In  the  Tea-room.  Utensils  and  flowers  set  out  of  the  Cha-no-yu 

ceremony.  A  chagami  (tea  kettle  for  the  ceremony)  is  placed  upon 
the  irori,  or  fire-place  in  the  floor.  In  front  of  it  is  a  sumitori 
(charcoal  holder),  a  chawan  (tea  bowl)  with  a  chasen  (tea  whisk) 
placed  in  it,  and  a  cha-ire  (tea  caddy)  in  a  brocade  bag.  In  a 
hishakutate  (dipper-holder)  are  a  hishaku  and  a  pair  of  hibashi 
(iron  chopsticks  for  handling  the  charcoal).  And  lying  beside  these 
things  are  a  plum  branch  in  bud,  and  a  branch  of  Camellia  Sasanka 
in  full  bloom.  Surimono.  Signed  by  seal  only,  Shunman. 

Size,  5%  x  7%  inches.  Fine  impression,  in  good  condition. 


First  Evening 


108 


TOSHUSAI  SHARAKU 

Of  this  great  artist  whose  works  are  unique  in  their  concentrated  power  and 
remarkable  characterizations  we  know  only  that  his  real  name  was  Saito  Jurdbei, 
and  that  he  was  a  No  dancer  in  the  service  of  the  Daimyo  of  Awa.  The  portraits 
of  actors  for  which  he  is  famous  all  appear  to  have  been  drawn  in  or  about  the 
years  17  9  f  and  1795.  Whether  the  cessation  of  his  activity  as  a  print  designer 
was  due  to  his  death  or  to  the  persuasion  of  his  aristocratic  patron,  or  to  some 
other  cause,  we  have  yet  to  learn.  It  cannot  be  from  lack  of  popularity,  for, 
although  his  prints  are  rare,  they  are  not  as  rare  as  the  master  works  of  his  con¬ 
temporaries,  Utamaro,  Toyokuni,  and  Eiri. 


No.  307 

307  Ichikawa  Ebizo  in  Shibaraku.  This  print  probably  represents  Ebizo 
(as  the  fifth  Danjuro  called  himself  after  he  gave  the  Danjuro 


109 


First  Evening 


name  to  his  son,  the  sixth  Danjuro,  in  the  eleventh  month  of 
Kwansei  3 — November  26  to  December  24,  1791),  as  Kamakura 
Gongoro  Kagemasa  in“Otokoyama  Oedo-no-Ishizue,”  the  Kaomise 
play  at  the  Kiri  theatre,  December  1794.  Signed,  Sharaku  gwa. 

Size,  12%  x  6  inches.  Good  impression,  in  good  condition.  See 
illustration. 

From  the  Vicomte  de  Sartiges  collection 


No.  308 


308  Portrait  of  the  Actor  Arashi  Ryuzo.  The  role  in  which  he  is  depicted 
has  not  been  ascertained.  Mica  ground.  Signed,  Toshusai  Sharaku 
gwa. 

Size,  1 4 Yi  x  9 inches.  Fine  impression,  in  good  condition,  several- 
moth  holes  having  been  neatly  repaired. 

From  the  Vicomte  de  Sartiges  collection 


First  Evening 


110 


KITAGAWA  UTAMARO 

1753-1806 

309  The  Chestnuts.  Yama-uba,  the  mother  of  Sakata  Kintaro,  standing, 

and  bending  over,  shows  her  young  son  two  burrs  full  of  chestnuts 
on  a  small  twig,  and  the  pink-skinned  boy  grips  her  skirts  as  he 
looks  up  at  the  tempting  nuts.  Signed,  Utamaro  fude. 

Size,  19%  x  9%  inches.  Superb  impression  of  one  of  Utamaro's  most 
celebrated  prints,  finer,  apparently,  than  the  beautiful  impression  in  the 
collection  of  M.  Doucet  which  is  reproduced  in  color  in  the  Vigmer-I nada 
Catalogue.  That  is  slightly  trimmed,  whereas  this  is  full  size  and  the 
color  is  very  little  faded — just  enough,  indeed,  to  enhance  its  charm. 
See  illustration. 

310  A  Joruri  Teacher.  A  woman  seated  with  an  open  book  before  her  and 

a  samisen  across  her  lap,  giving  a  joruri  lesson  to  a  man  who  is 
seated  before  her.  Two  other  men  are  awaiting  their  turn  for  a 
lesson,  one  yawning,  the  other  fast  asleep.  Men  pupils  of  women 
instructors  rarely  came  for  the  purpose  of  learning  but  solely  to 
get  near  to  the  teacher.  Signed,  Utamaro  gwa. 

Size,  9%  x  7%  inches.  Good  impression,  in  good  condition. 

311  Fufu  no  Yudachi.  “A  married  couple  in  a  sudden  shower.”  A  man 

with  a  white  kerchief  thrown  across  his  head  and  a  woman  carry¬ 
ing  a  closed  umbrella,  caught  in  a  heavy  downpour.  Series, 
Ukiyo  San  Seki,  i.e.,  "Three  Evening  Views.”  Signed,  Utamaro 
fude. 

Size,  20  x  9%  inches.  Fine  impression,  in  good  condition. 

312  Woman  Playing  with  a  Pom-pin,  a  toy  made  of  very  thin  glass,  called 

also  "pokon-pokon.”  The  flexible  bottom  of  the  toy  can  be  made 
to  bulge  or  retract  as  one  forces  air  through  the  tubular  stem  or 
sucks  it  in  with  the  lips,  and,  as  the  bottom  moves  back  and  forth 
it  produces  a  sound  like  "pom-pin,”  or  "pokon-pokon,”  hence,  the 
name.  Mica  ground.  Series:  Fujo  Ninso  Juppin,  i.e.,  "Ten  Varieties 
of  Feminine  Physiognomy.”  Signed,  Sokan  (Physiognomized  by) 
Utamaro  fude. 

Size,  lf%  x  9%  inches.  Fine  impression ,  in  good  condition  save  for  a 
horizontal  crease. 


No.  309 


First  Evening 


112 


313  Amagoi  Komachi.  “  Praying-for-rain  Komachi.”  A  woman  seated  on 
the  floor  of  a  bathroom  with  her  arms  about  another  woman  who 
is  dressed  in  a  bathrobe.  The  title  of  the  print  indicates  that  she 
is  praying  for  water  to  fill  the  bathtub  which  is  shown  at  the  left. 
Series,  Futaba  Gusa  Nana  Komachi.  Signed,  Utamaro  fude. 

Size,  %  9fi  inches.  Good  impression,  in  good  condition,  colors 
softly  faded. 


SEIRO  JU-NI  JI  TSUZUKI 

“The  Tioelve  Honrs  of  the  Day  in  the  Green  Houses.”  Four  of  the  series 
of  twelve  well-known  prints.  Each  signed,  Utamaro  fude. 

314  Mi  no  Koku.  The  Hour  of  the  Snake — 9  to  11  o’clock  a.  m.,  as  we 
reckon  time.  A  woman  attired  in  a  blue-and-white  bathrobe, 


113 


First  Evening 


standing,  drying  her  ear,  while  another  woman  kneeling  before  her 
holds  a  cup  of  tea. 

Size,  IfA  x  9l/2  inches.  Fine  impression;  trimmed  from  15x10 
inches,  in  fair  condition  otherwise.  See  illustration. 

315  Saru  no  Koku.  The  Hour  of  the  Monkey — 3  to  5  o’clock  p.  m.  An 
oiran  out  for  a  walk,  attended  by  her  kanuiro  and  a  shinzo. 

Size,  IfA  x  9ZA  inches.  Good  impression,  in  good  condition. 


No.  316 

316  Tori  no  Koku.  The  Hour  of  the  Cock — 5  to  7  o’clock  p.  m.  An 
oiran  standing,  looking  at  a  maid  who  bends  over  a  large  Odawara 
lantern  and  is  about  to  lift  it. 

Size,  14%  x  9 A  inches.  Fine  impression,  in  fair  condition,  a  good 
deal  trimmed  down.  See  illustration. 


First  Evening 


114 


317  Ne  no  Koku.  The  Hour  of  the  Rat — 11  o’clock  p.  m.  to  1  A.  m.  An 

oiran  untying  her  obi  and  looking  down  at  another  woman  who  is 
folding  her  uchikake  (overdress). 

Size,  14%  x  9%  inches.  Good  impression,  in  good  condition. 

318  The  Awabi-shell  Divers  at  Ise.  Right-hand  sheet  of  the  earlier  of 

the  two  triptychs  presenting  this  subject  that  were  designed  by 
Utamaro.  Three  women  visitors  standing  on  a  rocky  spit,  looking 
at  a  woman  diver  who  has  just  come  to  the  surface  of  the  water, 
bearing  a  shell  in  her  hands.  Signed,  Utamaro  gwa. 

Size,  14%  x  9%  inches.  Ordinary  impression,  in  fair  condition  save 
for  a  large  moth  hole  that  has  been  badly  patched. 

319  Middle  Sheet  of  the  Same  Triptych.  More  visitors  farther  out  on  the 

rock,  and  a  diver  coming  to  the  surface  of  the  water  and  handing  a 
shell  to  another  diver  who  is  seated  in  a  boat. 

Size,  15  x  9%  inches.  Ordinary  impression,  in  fair  condition. 

320  The  Awabi-shell  Divers  at  Ise.  The  later  triptych,  which  is  one  of 

Utamaro’s  most  famous  works.  In  the  middle  sheet  one  of  the 
woman  divers  is  shown  nursing  her  young  son  while  she  rests, 
seated  by  a  basket  of  shells.  At  the  right  a  woman  is  wringing  the 
water  from  a  red  cloth  wrapped  about  her  loins  and  is  looking 
down  at  a  visiting  woman  who  is  holding  a  large  shell  and  presum¬ 
ably  asking  its  price.  At  the  left,  two  divers  are  looking  down  at 
a  school  of  small  fish  in  the  water  below.  Signed,  Utamaro  fude. 

Size,  1 4  '/I  x  99  ff  inches.  Good  impression,  not  in  very  good  condition, 
somewhat  soiled,  faded,  and  trimmed. 

321  Middle  Sheet  of  the  Same  Triptych. 

Size,  14Yi  x  9fs  inches.  Fine  impression.  Trimmed  a  half  inch  at 
the  head,  and  a  few  of  the  black  markings  of  the  rock  near  the  bottom  of 
the  print  have  been  rubbed  off.  Otherwise  in  fine  condition. 

322  Ennichi  Yoru  no  Ame.  “Night  Rain  at  the  Evening  Market.”  A 

woman  and  her  two  sons,  the  elder  of  whom  carries  a  lantern, 
leaving  a  night  stall  at  a  shrine  where  she  has  purchased  a  pot  of 
morning  glories.  Series:  Nazorai  Hakkei,  i.e.,  “Eight  Puzzle 
Scenes.”  Signed,  Utamaro  fude. 

Size,  12  %  x  9  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


115 


First  Evening 


No.  322 


CHUSHINGURA 

The  drama  of  the  Loyal  League.  A  series  of  “brother  pictures ”  presenting 
comic  analogues  in  real  life  of  the  scenes  of  the  play  which  are  shown  in  small 
pictures  in  the  upper  corners  of  the  prints.  Ten  out  of  the  eleven  prints  forming 
the  set.  Each  signed,  Utamaro  fude. 

Each  print  15  x  10  inches.  All  good  impressions ,  in  good  condition. 

323  Act  I.  A  woman  watching  a  manzai  singer  flirt  with  her  sister;  and 

Wasaka-no-suke  watching  Moronao  make  love  to  Kaoyo-gozen. 

324  Act  II.  A  young  man  delivering  a  letter  in  a  box  to  a  young  woman 

seated  at  the  entrance  to  a  house,  her  mother  standing  by  her 
side,  compared  with  Rikiya’s  interview  with  Konami. 


First  Evening 


116 


325  Act  IV.  Women  arranging  flowers  and  bringing  sake  for  the  Tsukimi 

festival,  while  a  youth  looks  on.  This  is  compared  to  Rikiya’s  gift 
of  flowers  to  Kaoyo. 

326  Act  V.  An  oiran  taking  a  bag  of  sweetmeats  from  a  matron,  compared 

to  Sadakuro  robbing  Yoichibei. 

327  Act  VI.  The  bravery  of  a  geisha  preparing  to  set  forth  to  keep  a 

professional  engagement  contrasted  with  the  heroism  of  Kanpei 
who,  with  Okaru  and  her  mother,  is  shown  in  the  small  picture. 

328  Act  VII.  The  well-known  scene  of  the  discomfiture  of  Kudayu  at 

Ichimonji-ya  parodied  by  the  representation  of  a  nude  man  seated 
upon  the  veranda  of  a  seiro,  anxiously  perusing  the  very  long  bill 
entailed  by  a  night  of  dissipation,  while  his  mistress,  seated  on  a 
balcony  above,  nonchalantly  fans  herself,  and  a  dog  is  curled  up 
beneath  the  engawa. 

329  Act  VIII.  A  geisha  playing  a  samisen  while  walking  in  a  street,  at¬ 

tended  by  a  matron,  compared  with  Tonase  and  Konami  journey¬ 
ing  to  Yamashina. 

330  Act  IX.  The  toilet  of  a  young  woman  having  her  hair  dressed  by  her 

mother,  interrupted  by  the  intrusion  of  a  mendicant  priest  in  a 
black  robe  and  a  basket  hat.  This  is  compared  with  Kakogawa 
Honzo,  in  komuso  attire,  arriving  at  Yuranosuke’s  house  in  Yama¬ 
shina,  as  his  wife  Tonase  was  about  to  kill  their  daughter  Tonase, 
and  then  commit  suicide. 

331  Act  X.  Gihei  protecting  the  nagamochi  containing  the  arms  of  the 

loyal  ronin  finds  a  parallel  in  a  scene  in  the  Yoshiwara  where  a 
nude  man,  drunk  with  sake,  sits  upon  a  sakadaru  and  prevents  the 
servants  from  getting  at  the  liquor  it  contains. 

332  Act  XI.  An  analogue  to  the  killing  of  Moronao  is  shown  in  an  encounter 

in  the  kitchen  of  a  house  in  the  Yoshiwara,  where  a  man  servant, 
armed  with  a  broom,  attacks  a  drunken  guest  who  protects  him¬ 
self  with  a  duster,  while  an  amused  waitress  holding  a  candle, 
looks  on. 


/ 


1 1 7  First  Evening 

333  Three  Niwaka  Performers.  Three  geisha  who  took  part  in  a  niwaka, 
in  the  streets  of  the  Yoshiwara.  The  upper  one  carries  a  mugi- 
tsuki  (wheat  pestle),  the  lower  one  at  the  right  impersonates  an 
ogi-uri  (folding-fan  peddler),  and  the  one  at  the  left,  an  uchiwa-uri 
(round-fan  peddler).  Series:  Seiro  Niwaka  Onna  Geisha  no  Bu, 
i.e.,  “Woman  Geisha  Participants  in  a  Green-house  Niwaka.” 
Impression  with  a  mica  ground.  Signed,  Utamaro  gwa. 

Size,  15  x  9%  inches.  Good  impression,  trimmed  three-eighths  of  an 
inch  in  width  and  not  otherwise  in  very  good  condition. 


No.  334 


334  The  Smiling  Girl.  Large  head  and  bust  portrait  of  a  young  woman, 
with  her  head  bent  forward.  A  short  ode  describes  her  as  being 
“as  lovely  and  smiling  as  fukujuso”  (Adonis  davurica,  a  plant 


First  Evening 


118 


that  blooms  about  the  first  of  the  year  and  is  regarded  as  an 
emblem  of  good  luck).  Series:  Meisho  Koshikake  Hakkei,  i.e., 
"Eight  Views  of  Women  Seated  on  Benches.”  Signed,  Utamaro 
fude. 

Size,  15  x  9}^,  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


No.  335 

335  Hanaogi  of  Ogi-ya.  Three-quarter  length  portrait  of  the  popular 
beauty,  who  is  shown  holding  a  poem  slip  and  a  pipe.  Impression 
with  a  mica  ground.  Signed,  Utamaro  fude. 

Size,  1 4  7A  x  9  %  inches.  Extremely  fine  impression,  in  flawless  con¬ 
dition.  See  illustration. 


119 


First  Evening 


336  Shinano-ya  O  Han  ga  So.  “The  Face  of  Shinano-ya  O  Han.”  Large 
head  and  bust,  imaginary  portrait  of  0  Han,  whose  love  affair  with 
Choemon  resulted  in  their  committing  shinju  (double  suicide  ,  by 
drowning  themselves  in  the  Katsura  river.  Signed,  Utamaro  fude. 

Size,  14%  x  9%  inches.  Fine  impression,  somewhat  browned,  other 
wise  in  good  condition. 


No.  337 

337  Wakaume  of  Tama-ya.  Three-quarter  length  portrait  of  the  tayu,  and 
a  glimpse  of  one  of  her  kamuro,  who  is  peeping  out  from  behind  her 
mistress.  Impression  with  a  mica  ground.  Signed,  Utamaro  fude. 

Size,  15l/i  x  10\i  inches.  Fine  impression,  in  good  condition.  See 
illustration. 


First  Evening 


120 


338  Who  Is  She?  Large  head  and  bust  portrait  of  a  woman  who  has  a 

folded  paper  pinned  about  her  head  to  protect  her  coiffure.  Her 
name  is  given  in  a  rebus  in  an  upper  corner,  which  the  writer  of 
this  catalogue  regrets  he  has  not  been  able  to  decipher.  Series: 
Komei  Bijin  Rok-kasen,  i.e.,“Six  Famous  Women  Poets.”  Signed, 
Utamaro  fude. 

Size ,  1  It  Y2  x  91/ 8  inches.  Fine  impression ,  in  fine  condition. 

339  Harukaze.  “A  Spring  Breeze.”  Large  head  and  bust  portrait  of  a 

woman  drinking  from  a  glass  goblet.  Series,  Meisho  Koshikake 
Hakkei.  Signed,  Utamaro  fude. 

Size,  1 5 U  x  10%  inches.  Fine  impression,  in  good  condition,  softly 
toned. 

340  A  Chushingura  Parody.  The  geisha  Izutomi  cutting  off  a  branch  of 

yamabuki  and  turning  to  speak  to  another  geisha  who  stands  upon 
a  veranda  at  the  right.  Parody  upon  the  scene  in  Act  IV  of  the 
drama,  where  Kaoyo  is  engaged  in  making  a  floral  arrangement 
when  the  messengers  arrive  to  notify  her  husband  that  he  has 
been  condemned  to  die.  Series,  Komei  Bijin  Mitate  Chushingura. 
Signed,  Utamaro  fude. 

Size,  14%  x  9%  inches.  Good  impression,  in  good  condition. 

341  Putting  Away  the  Treasures.  A  geisha  of  Ebisu-ya  mounted  upon  a 

huge  chest  is  placing  boxes  containing  treasured  articles  in  an  upper 
cupboard,  while  one  servant  holds  a  lantern  and  two  others  hold 
boxes  to  be  put  away  in  turn.  Probably  a  parody  upon  the  scene 
of  Gihei’s  protecting  the  nagamochi,  in  Act  X  of  the  drama.  Same 
series  as  No.  340.  Signed,  Utamaro  fude. 

Size,  15  x  10  inches.  Good  impression,  in  fine  condition. 

342  Shaving  His  Head.  A  woman  holding  her  infant  son  who  remains 

fast  asleep  while  his  father  shaves  the  child’s  head.  Signed,  Uta¬ 
maro  fude. 

Size,  14Vi  x  9  inches.  Fine  impression,  in  good  condition  save  that 
it  has  been  trimmed  down  from  15  x  10  inches. 

343  Amusing  the  Child.  A  woman  seated  behind  a  tsuitate,  looking  into 

a  mirror  which  is  turned  so  that  the  reflection  of  her  face,  with 


121 


First  Evening 


No.  343 


tongue  protruding,  can  be  seen  by  an  infant  boy,  who  lies  upon 
the  floor  in  the  foreground,  his  mother  grasping  his  waistband  to 
hold  him  in  position.  Signed,  Utamaro  fude. 

Size,  15l/i  x  10  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

344  A  Merry  Party.  A  young  man  and  a  tayu  feasting  in  a  Yoshiwara 
tea-house,  where  they  are  being  entertained  by  geisha  and  by  a 
taikomochi  (professional  jester),  who  is  shown  seated  before  them 
exchanging  witticisms  with  a  geisha  seated  at  the  left.  Signed, 
Utamaro  fude. 

Triptych.  Size,  14V2X29  inches.  Good  impression,  in  good  con¬ 
dition. 


123 


First  Evening 


345  The  Sheltering  Tree.  A  group  of  people  caught  in  a  sudden  shower, 

taking  shelter  under  a  large  tree,  and  others  running  to  join  them. 
At  the  left  a  farmer  wearing  a  straw  hat  squats  down  with  a  basket 
of  egg  plants  beside  him.  Signed,  Utamaro  fude. 

Triptych.  Size,  1414  x  29%  inches.  Good  impression,  in  good  con¬ 
dition.  See  illustration. 

346  Picture  of  Women  Lodgers.  This  is  the  artist’s  title  for  the  print 

which  shows  three  women  seated  on  beds  under  a  great  kaya  or 
mosquito-net  canopy,  and  three  others  standing  outside,  one 
holding  an  uchikake  (overdress)  of  black  gauze,  one  tying  her  obi, 
and  the  third  fastening  the  rope  that  holds  up  one  corner  of  the 
canop}n  Signed,  Utamaro  fude. 

Triptych.  Size,  14/4x29%  inches.  Ordinary  impression,  in  poor 
condition,  faded  and  somewhat  soiled. 


EISHOSAI  CHOKI 

Pupil  of  Toriyama  Sekiyen.  Earliest  studio  name  Shiko.  From  about 
1 792  signed  Eishosai  Choki.  Worked  during  the  Kwansei  period  ( 1 789 — 1 801 ) . 
Dates  of  birth  and  death  not  known. 

347  An  Osaka  Beauty.  The  tayu  Osumi  of  Tsuchi-ya,  Shinmichi.  Large 
head  and  bust  portrait  of  marked  distinction.  Impression  with  a 
mica  ground.  Signed,  Choki  gwa. 

Size,  1414  x  9%  inches.  Fine  impression,  in  very  beautiful  condition. 
See  illustration,  p.  124- 


SHIKO  II 

Probably  a  pupil  of  Choki.  Until  quite  recently  his  prints  have  been  ascribed 
to  Choki  notwithstanding  palpable  differences  in  the  quality  of  the  drawing,  it 
being  taken  for  granted  that  the  relative  weakness  was  merely  a  result  of  the 
letting  down  that  was  incidental  to  a  period  of  decadence.  Lately,  however, 
Major  J.  J.  O’Brien  Sexton  has  discovered  evidence  that  there  was  a  second 
Shiko,  so  it  seems  more  plausible  to  attribute  the  prints  of  the  later  years  of  Kwansei 
to  him  rather  than  to  Choki  on  the  supposition  that  Choki  then  reverted  to  his 
early  name  and  suddenly  changed  his  style. 


No.  347 


125 


First  Evening 


348  Disconsolate  Lovers.  0  San  seated  beside  her  lover  Mohei,  who  is 
wiping  a  tear  from  his  eye.  Both  are  greatly  dejected  and  are 
contemplating  double  suicide  to  end  their  woe.  This  was  often 
the  last  resort  of  lovers  in  old  Japan,  when  marriage  between  them 
was  impossible.  Signed,  Shiko  gwa. 

Size,  14%  x  9%  inches.  Good  impression,  in  good  condition.  See 
illustration. 


No.  348 


349  Lovers  Playing  Cat’s  Cradle.  0  Kiku  and  Kosuke  playing  ito-tori, 
literally  “thread-take,”  the  game  known  to  us  as  “cat’s  cradle.” 
Same  series  (without  title)  as  the  preceding  lot.  Signed,  Shiko  gwa. 

Size,  15  x  9F$  inches.  Fine  impression,  in  fine  condition.  See 
illustration,  p.  126. 


First  Evening 


126 


No.  349 

KATSUSHIKA  HOKUSAI 

1760—1849 

350  The  Apparition  of  Yama-uba.  In  the  final  scene  of  the  second  act  of 
“Seiwa-nidai  Oatari  Genji,”  the  Kaomise  play  at  the  Miyako 
theatre,  on  or  about  November  29,  1796,  the  fifth  Ichikawa  Dan- 
juro  (then  known  as  Ichikawa  Ebizo),  appeared  in  "The  Appari¬ 
tion  of  Yama-uba.”  This  was  his  last  play  before  his  retirement 
from  the  stage,  though  he  afterward  appeared  a  few  times  by 
special  request.  In  this  print,  which  is  a  surimono  to  commemorate 
Danjuro’s  “last  appearance,”  he  is  shown  not  enacting,  but  seeing 
the  vision,  while  seated  upon  a  bundle  of  fagots  and  looking  at  the 


127 


First  Evening 


No.  350 


apparition  of  Yama-uba  and  her  son  Kintaro.  His  kimono  has  a 
pattern  formed  of  egg-plants;  at  the  extreme  left  of  the  picture, 
Mt.  Fuji  is  seen  in  the  distance,  and  a  falcon  is  flying  above.  The 
vision  is  thus  shown  to  include  the  three  things  that  presage  good 
luck  if  dreamed  about  on  the  second  night  of  the  New  Year.  As 
Kaomise  was  the  actor’s  New  Year  it  was  peculiarly  appropriate  to 
make  this  suggested  omen  a  feature  of  the  commemorative  suri- 
mono.  It  is  regrettable  that  the  other  half  of  the  sheet  containing, 
in  all  probability,  odes  and  other  inscriptions,  has  not  been  pre¬ 
served.  Signed,  Gwa-kyo-jin  Hokusai. 

This  print  shows  that  Hokusai  used  the  “  Painting-mad-man” 
signature  some  years  earlier  than  has  hitherto  been  supposed.  In 
the  catalogue  of  the  exhibition  of  paintings  by  Hokusai  held  in 
Tokyo  in  1900,  Fenollosa  ascribed  the  works  so  signed  to  the 
years  1802 — 1805;  and  in  the  V.-I.  “Yeishi,  Choki,  Hokusai,” 
catalogue  the  years  1800 — 1815  are  named. 

Size,  7 Vs  x  21  inches.  Fine  impression,  in  perfect  condition.  See 
illustration. 

351  Visitors  at  a  Shinto  Shrine.  A  family  party,  a  man,  two  women  and 

several  youngsters  visiting  a  Shinto  shrine  attached  to  a  Buddhist 
temple  of  the  Nichiren  sect.  Long  surimono.  Signed,  Gwa-kyo- 
jin  Hokusai  gwa. 

Size,  7p2  x  20%  inches.  Good  impression,  in  good  condition. 

352  Feeding  the  Monkey.  An  old  shicho  (attendant  at  a  Shinto  shrine) 

offering  a  cake  to  a  monkey  that  is  seated  on  a  small  platform  on 


First  Evening 


128 


the  top  of  a  pole  to  which  he  is  chained.  A  small  boy  dressed  in  a 
red  kimono  is  an  interested  spectator.  Signed,  Katsushika 
Hokusai. 

Size,  19%  x  10%  inches.  Fine  impression,  unfortunately  not  in  very 
good  condition,  as  it  is  an  exceedingly  rare  and  important  print. 

353  Rural  Scene.  A  picnic  party  of  women  and  children  in  the  foreground 

on  a  road  that  borders  a  river  winding  about  a  farmhouse  and 
running  under  a  bridge  at  the  left.  The  farmer  and  an  old  man 
and  a  woman  are  standing  on  the  bridge  and  another  man  is  stand¬ 
ing  in  the  stream  below  washing  a  basket.  Double-page  illustration 
from  an  album  of  poems  and  pictures.  Signed,  Hokusai  Suri  gwa. 
Size,  8%  x  14%  inches.  Fine  impression,  in  fine  condition. 

ROK-KA-SEN 

“The  Six  Famous  Poets.”  Complete  set  of  six  tateban  prints,  size  14%% 
9%.  An  exceptionally  fine  set,  all  very  fine  impressions,  in  beautiful  condition. 
Each  print  signed,  Katsushika  Hokusai. 

354  So  jo  Henjo.  A  red-robed  priest.  The  brilliant  quality  of  the  colors 

of  his  garments  is  worthy  of  special  notice. 

355  Bunya  no  Yasuhide.  Seated  figure  of  a  court  noble  of  the  olden 

time. 

356  Otomo  no  Kuronushi.  Another  dignitary  of  the  Fujiwara  period. 

357  Kisen  Hoshi.  An  earl}'-  Buddhist  monk  of  high  rank. 

358  Ariwara  no  Narihira  Ason.  Famed  as  the  author  of  the  Ise  Mono- 

gatari  and  for  the  “  Eastern  Journey”  described  in  that  classic 
work. 

359  Ono  no  Komachi.  The  celebrated  woman  poet  of  the  ninth  century. 

SHOKOKU  MEIKYO  KIRAN 

“Famous  Bridges  in  the  Home  Provinces.”  Six  of  the  eleven  prints  of  the 
series  and  one  duplicate.  Each  signed  I -itsu,  formerly  Hokusai.  Size,  about 
10  x  15  inches.  All  good  impressions  in  good  condition. 

360  Tokaido  Okazaki  Yahagi  no  Hashi.  The  bridge  over  the  Yahagi  River 

at  Okazaki  on  the  Tokaido. 


129 


First  Evening 


361  Yamashiro  Arashiyama  Togetsu  Kyo.  The  bridge  at  Arashiyama, 

province  of  Yamashiro,  from  which  one  sees  the  moon  reflected  in 
the  water. 

362  Suwo  Kintai  Bashi.  Kintai  bridge  in  the  province  of  Suwo. 

363  Agikawa-guchi  Tempozan.  Tempozan  bridge  at  the  mouth  of  the 

Aji  River,  Osaka. 

364  The  same.  Another  impression,  not  in  quite  as  good  condition,  being 

slightly  soiled  along  the  line  of  a  vertical  fold. 

365  Echizen  Fukyu  Bashi.  Fukyu  bridge  connecting  two  districts  in  the 

province  of  Echizen,  built  partly  of  wood  and  partly  of  stone  by 
the  Daimyo  of  the  respective  districts. 

366  Mikawa  Yatsu  Hashi.  The  bridge  of  eight  platforms  at  Chiryu; 

province  of  Mikawa. 

SHUNEN  HYAKU  MONOG ATARI 

“One  Hundred  Tales  of  Ghosts.”  Three  prints  of  the  well-known  Ghost 
series.  Each  signed ,  Hokusai  haki  (brush). 

367  Malevolence.  A  snake,  symbolizing  malevolence,  crawling  over  a 

black  box  of  sweetmeats  and  around  an  ihai  (ancestral  tablet, 
which,  however,  in  this  instance  bears  a  comic  inscription)  before 
which  is  placed  the  customary  bowl  of  water  with  a  green  leaf 
floating  in  it. 

Size,  9%  x7  inches.  Fine  impression,  trimmed  down  and  somewhat 
soiled. 

368  Kohada  Koheiji.  The  ghost  of  Kohada  Koheiji  pulling  down  a 

mosquito  net  bed-canopy  and  looking  through  the  opening. 

Size,  10}/i  x  inches.  Fine  impression,  in  fine  condition. 

369  Oiwa  San.  A  ghostly  head  on  a  tattered  hanging  lantern  inscribed 

“Namu  Amicla  Butsu.” 

Size,  lOfi  x  7  fi  inches.  Fine  impression,  in  fine  condition. 


370  Strolling  Jugglers.  One  of  the  performers  is  balancing  three  balls 
resting  on  the  rim  of  a  cup  set  upon  the  top  of  a  pole  standing  upon 


First  Evening 


130 


a  flute  that  he  is  playing.  Another  man  holds  a  bag  open  to  catch 
the  cup  should  it  chance  to  fall,  and  a  third  is  beating  a  drum. 
Signed,  Zen  Hokusai  Iitsu  fude. 

Size,  13%  x  2l/i  inches.  Ordinary  impression,  in  fine  condition. 

371  A  Bird  upon  a  Flowering  Branch.  Signed,  Zen  Hokusai  gwa. 

Size,  13%  x  2%  inches.  Good  impression,  in  fine  condition. 

372  Hirami  ni  Mutsu  ni  Akagai.  Flounder,  Scombrops  chilodipteroides, 

and  Swollen  ark-shell.  Signed,  Zen  Hokusai  fude. 

Size,  8%  x  6' I  s  inches.  Ordinary  impression,  browned. 

SHIKA  SHA-SHIN  KYO 

“  The  Imagery  of  the  Poets.”  Seven  prints  of  the  series  of  ten.  Each  signed, 
Zen  Hokusai  Iitsu. 

373  Sei  Shonagon.  Illustration  of  a  famous  ode  by  the  tenth  century 

court  lady  Sei  Shonagon,  author  of  the  “  Makura  Zoshi,”  which  is 
one  of  the  classics  of  Japanese  literature.  The  ode,  as  rendered 
into  English  by  Kojiro  Tomita,  reads: 

While  shades  of  night  prevail, 

Mock  not  the  clarion  cock ; 

For  vain  shall  be  thy  ruse 
Ou-saka’s  guard  to  pass. 

This  poem  was  written  as  a  letter  to  her  lover,  the  Dainagon 
Yukinari,  who  had  left  her  early  one  morning  and  had  sent  back 
word  that  the  crowing  of  a  cock  made  him  think  day  was  near. 
Her  reply  was  a  play  on  words  and  a  reference  to  an  incident  in  the 
life  of  Meng  Ch/ang-chiin  (called  Moshokun  by  the  Japanese),  a 
Minister  of  the  Ch‘in  State,  third  century  B.  c.  Having  been  im¬ 
prisoned  when  his  loyalty  was  questioned,  he  escaped  by  bribing  the 
king’s  favorite  concubine  to  aid  him.  Arriving  at  the  frontier  gate 
which  was  closed  and  could  not  be  opened  until  cock-crow,  he  would 
have  been  captured  by  his  pursuers,  but  for  the  clever  stratagem  of 
one  of  his  retainers  who  climbed  a  tree  and  imitated  the  crowing  of 
a  cock  so  successfully  that  an  actual  cock  echoed  the  sound,  the  gate 
was  thrown  open  and  Meng  escaped  to  his  native  province  of  Ch‘i. 

Size,  20x8%  inches.  Very  fine  impression,  in  flawless  condition. 
See  illustration. 


No.  373 


No.  374 


First  Evening 


132 


374  Meng  Hao-jan.  As  the  name  of  the  poet  is  not  given  upon  the  print 

there  is  some  doubt  as  to  his  identity.  In  many  recent  catalogues 
the  name  of  the  Sung  poet  Su  Shih  (1036 — 1101)  has  been  suggested, 
but  no  poem  by  him  fitting  the  print  has  been  quoted.  The 
ascription  here  made  seems  much  more  probably  the  right  one. 
Credit  for  it  is  due  to  Mr.  Kojiro  Tomita  of  the  Boston  Museum  of 
Fine  Arts.  The  print  shows  a  Chinese  nobleman  on  horseback  in  a 
snowstorm,  halting  on  a  crag  projecting  over  a  body  of  water,  to 
watch  a  flock  of  geese.  Mr.  Tomita  thinks  that  this  may  illustrate 
a  famous  poem  by  Meng  Hao-jan  (689 — 740)  of  the  T'ang  dynasty, 
known  to  the  Japanese  as  Mo  Konen.  The  rest  of  the  description 
is  given  in  Mr.  Tomita’s  words,  together  with  his  translation  of 
the  poem. 

“Once  while  on  his  way  to  Ch‘ang-an,  at  one  time  the  capital 
during  the  Ch'in  Dynasty,  and  in  the  poet’s  time  the  capital 
of  the  ruling  T'ang  Dynasty,  Meng  Hao-jan  encountered  a  snow¬ 
storm  and  composed  the  following  poem,  whose  meaning  is 
suggested  in  the  print,  provided  the  ascription  of  the  subject  is 
correct: 

“On  Meeting  a  Snowstorm  on  the  Way  to  the  Capital 

Long  the  way  to  the  Ch‘in  capital, 

And  sullen  the  sky  of  the  dying  year, 

Its  sable  hues  bent  toward  the  year  to  come; 

The  heavy  snow  emburdens  peak  and  stream, 

And  on  the  shore  alighting  geese  their  pathway  lose; 

In  barren  fields  the  hungry  crows  convene, 

While  I,  a  wayfarer,  disheartened  stand; 

Alas,  no  habitation  meets  my  gaze!” 

Size,  20  x  Sis  inches.  Fine  impression,  in  good  though  not  perfect 
condition.  See  illustration,  p.  131. 

375  Abe  no  Nakamaro.  Illustration  of  his  famous  ode: 

When  I  look  abroad 

O’er  the  wide-stretched  “Plain  of  Heaven,” 

Is  the  moon  the  same 

That  on  Mount  Mikasa  rose 
In  the  land  of  Kasuga? 


133 


First  Evening 


The  poet  is  shown  seated  on  the  balcony  of  a  Chinese  palace 
looking  up  at  the  moon  and  thinking  mournfully  of  his  far-away 
Japanese  home  in  the  province  of  Kasuga.  Several  attendants 
respectfully  guard  him,  and  in  the  foreground  a  tall  pine  rises  and 
is  sharply  outlined  against  the  sky.  Nakamaro  was  sent  to  China 
to  discover  the  secret  of  the  Chinese  Calendar.  The  Emperor 
received  him  graciously,  feasted  him,  then  retired  and  gave  orders 
that  he  was  to  be  starved  to  death.  In  his  agony  he  bit  his  thumb 
until  it  bled  and  then  wrote  the  poem  with  his  blood. 

Size,  20  x  8%  inches.  Fine  impression,  in  fine  condition. 

376  Tokiwa  Daijin.  The  ode  that  this  print  illustrates  is  by  a  poet  whose 

name  is  not  given  in  any  list  that  the  writer  of  this  catalogue  has 
been  able  to  consult,  and  other  cataloguers  have  had  the  same 
difficulty.  A  noble  poet  is  depicted,  standing  on  the  bank  of  a 
stream,  holding  a  court  fan  across  his  shoulder.  His  sword-bearer 
and  another  retainer  respectfully  crouch  down  beside  him,  and  the 
crescent  moon  of  the  third  day  appears  in  the  cloudless  sky  over¬ 
head. 

Size,  20  x  81/ £  inches.  Early,  hut  not  quite  perfect  impression,  in  very 
fine  condition,  the  color  especially  good. 

377  Harumichi  no  Tsuraki.  Illustration  of  an  ode  by  this  poet  which  reads, 

in  the  English  version  by  Will  H.  Edmunds: 

In  a  mountain  stream, 

Builded  by  the  busy  wind, 

Is  a  wattled-barrier  drawn. 

Yet  it  is  but  maple  leaves 
Powerless  to  flow  away. 

Hokusai  shows  the  poet  crossing  a  bridge  across  a  rapidly  flowing 
river,  toward  a  village  that  nestles  on  a  low  point  about  which  the 
stream  sweeps.  At  the  right  a  tall  crag  rises,  and  high  mountains 
appear  in  the  background. 

Size,  20  x  9  inches.  Fine  impression,  in  flawless  condition. 

378  Shonenko.  This  is  the  Japanese  pronunciation  of  the  title  of  a  famous 

Chinese  poem  on  the  pleasure  of  travel.  A  Chinese  nobleman  is 
depicted  by  Hokusai,  urging  his  white  horse  to  a  faster  gait  on  a 
road  winding  around  a  lake.  A  little  way  in  front  his  courier  waits 


No.  378 


No.  379 


135 


First  Evening 


for  him  to  come  up.  Both  are  watching  a  fisherman  seated  on  the 
bank,  angling  with  rod  and  line. 

Size,  19%  x  8%  inches.  Fine  impression,  in  fine  condition. 

379  Tokusa  Kari.  “Collecting  Tokusa”  (the  scouring-rush).  An  old 

farmer  is  shown  crossing  a  dobashi  over  a  rapid  stream  flowing  into 
a  lake  where  ducks  are  swimming.  Great  masses  of  tokusa  grow 
on  the  farther  bank  of  the  lake,  and  the  farmer  carries  two  bundles 
of  dried  rushes  hung  from  the  ends  of  a  pole  held  across  his  shoulder. 
The  poem  that  this  print  illustrates  has  not  been  located.  May  it 
not  be  that  the  poet  is  Hokusai  himself? 

Size,  19%  x  81/ g  inches.  Ordinary  impression,  in  good  condition. 
Trimmed  a  quarter  inch  at  the  head.  See  illustration. 

SUKEI 

380  White  Cranes.  Two  birds  standing  on  a  rounded  hill-top  where  a 

dwarf  cherry-tree  with  white  blossoms  rests  upon  the  curb  of 
a  well.  Long  surimono.  Signed,  Sukei  gwa.  Seal;  Nobuoka. 

Size,  8%  x  19%  inches.  Fine  impression,  in  perfect  condition  save 
for  a  few  moth  holes. 

KATSUSHIKA  TAITO 

Pupil  of  Hokusai,  who  gave  him  the  Taito  name  after  he  dropped  it  about 
1820.  Worked  in  Edo  until  1843.  During  Ka-ei  (1848 — 1853)  worked  in 
Osaka.  While  there  he  forged  Hokusai’s  signature  on  some  of  his  own  designs. 
The  forgery  having  been  detected  he  was  called  “Dog  Hokusai.’' 

381  A  Carp  in  a  Swirl  of  Water.  A  famous  print,  often,  though  erro¬ 

neously,  attributed  to  Hokusai.  From  a  sheet  of  harimaze,  or  pic¬ 
tures  intended  to  be  cut  apart  for  use  in  pasting  upon  screens  or  the 
sliding  partitions  of  Japanese  houses.  Signed,  Taito.  Two  seals. 
Size,  14x6%  inches.  Good  impression.  In  fair  condition. 

382  A  Waterfall  in  a  Narrow  Gorge.  Signed,  Taito. 

Size,  13%  x  3  inches.  Ordinary  impression,  in  fair  condition. 

383  An  Oiran  on  Parade.  From  a  sheet  of  harimaze  han.  Signed,  Kat¬ 

sushika  Taito. 

Size,  13%  x  6  inches.  Good  impression,  in  good  condition. 


First  Evening 


136 


384  Tsuru  ni  Matsu.  Cranes  and  young  pine  trees.  From  the  same  set 
as  the  preceding  lot.  Signed,  Taito. 

Size,  14x6%  inches.  Good  impression,  in  good  condition. 


YANAGAWA  SHIGENOBU 

Pupil  and  son-in-law  of  Hokusai.  Chiefly  known  as  a  book  illustrator  and 
designer  of  surimono.  Born  in  1784;  died  in  1832. 

OSAKA  SHINMACHI  NERIMONO 

The  procession  in  the  Shinmachi,  the  licensed  quarter  in  Osaka.  Three 
prints  of  women  taking  part  in  the  procession,  an  annual  file  resembling  the 
niwaka  of  the  Yoshiwara  of  Edo.  Signed,  Toto,  Yanagawa  Shigenobu. 

Size,  14%  x  9 ys  inches.  All  fine  impressions,  in  fine  condition. 

385  Kaideya  Momozuru  impersonating  an  Emperor  of  Japan. 

386  Hinazuru  of  Naka  Ogi-ya  as  an  onna  Jittoku. 

387  Hatsufune-dayu  of  Nishi  Ogi-ya  as  a  nobleman  carrying  an  enormous 

sake  cup. 


388  Sayo-hime,  wife  of  the  general  Otomo  no  Sadehiko  who  was  sent  to 

Korea  by  Senkwa  Tenno  in  the  sixth  century.  When  he  sailed 
away  it  is  said  she  stayed  so  long  on  a  hill  she  climbed  to  watch  the 
disappearing  ship  that  she  was  changed  into  a  stone  called  the 
Bofu-seki,  or  stone  of  the  weeping  wife.  In  the  print  a  man  is 
shown  vainly  trying  to  push  her  from  her  feet.  Surimono.  Series : 
San  Yu  Fu,  i.e.,  “Three  Strong  Women.”  Signed,  Yanagawa 
Shigenobu. 

Size,  8  x  67/s  inches.  Fine  impression,  in  fine  condition. 

389  Dancing  Girl  Holding  a  Tsuzumi.  Surimono.  Signed  by  seal  only, 

Yanagawa. 

Size,  7%  x  6%  inches.  Fine  impression,  in  fine  condition. 

390  Ayu  ni  Kani.  Two  trout,  a  crab,  and  a  branch  of  pink-flowered  vetch. 

Signed,  Yanagawa. 

Size,  65/s  x  9}zi  inches.  Fine  impression,  in  fine  condition. 


137 


First  Evening 


391  Two  Small  Birds,  on  a  deep  indigo  background.  Signed,  Yanagawa. 

Size,  6%  x  5}/2  inches.  Fine  impression,  in  fine  condition. 

YASHIMA  GAKUTEI 

Pupil,  first  of  Hokkei,  then  of  Hokusai.  Personal  name  Onokichi.  Used 
the  studio  names  Gakutei,  Gakutei  Harunohu,  Gakutei  Sodaoka  and  Gogaku. 
Especially  noted  as  a  designer  of  surimono.  Worked  during  the  first  half  of  the 
nineteenth  century.  Dates  of  birth  and  death  not  knoivn. 

392  Tempozan  Man  Sen  Nu  Sen  no  Zu.  “A  thousand  treasure  ships 

sailing  into  port  at  Tempozan,”  while  rosy  rays  of  sunshine  stream 
down  from  behind  blue  clouds.  Signed,  Gogaku. 

Size,  10  x  lfl/2  inches.  Good  impression,  in  fair  condition. 

393  Osaka  Ajikawa  Tempozan  Fukei.  View  of  Tempozan,  Osaka,  from 

the  Aji  River.  Signed,  Gogaku. 

Size,  91/ 8  x  1414,  inches.  Fine  impression,  in  very  fine  condition. 

TEN  SURIMONO 

Varied  subjects.  Each  signed  Gakutei.  Size,  about  8yix7}zi  inches.  All 
fine  impressions  in  fine  condition. 

394  A  Hina-ningyo.  A  ceremonial  doll  representing  an  Empress  robed  in 

white  brocade  over  a  red  undergarment,  wearing  an  eboshi,  and 
seated  on  an  ornamental  stand. 

395  Sagoromo  Taisho.  A  Fujiwara  court  noble  playing  upon  a  flute 

and  a  vision  of  a  Princess  appearing  upon  a  white  cloud  floating 
in  from  the  garden  behind  him.  Series,  Washo  San  Ko  Shi. 

396  Shingagi-hime.  A  noble  Chinese  lady  as  a  warrior  in  full  armor,  with 

drawn  sword  in  hand.  Series,  Gakumen  Fujin  Awase.  Printed 
for  the  members  of  the  Katsushika  Ren. 

397  A  House  by  a  Lake.  A  small  picture  in  gray  and  black  on  a  silver 

ground,  and  above  it,  on  a  fan-shape,  an  old  Chinese  seated  in  a 
garden,  with  a  porcelain  jar  of  wine  by  his  side.  On  the  right 
side  of  the  print  an  ode  is  inscribed. 

398  Ko-tei-kin.  One  of  the  heroes  whose  exploits  are  chronicled  in  the 

Suikoden.  No.  5  of  the  series,  Suikoden  Tora  Shogun.  Signed, 
Gakutei  Sadaoka  fude. 


First  Evening 


138 


399  A  Bijin  Kinko.  An  oiran  seated  on  a  kotatsu  holding  a  letter  in  her 

hands.  A  large  carp  embroidered  on  the  futon  that  covers  the 
fire  box  suggests  that  she  is  a  reincarnation  of  the  sennin  Kinko  who, 
after  a  long  disappearance,  returned  seated  upon  a  huge  carp  as 
it  leaped  from  a  river. 

400  Michiyo.  An  oiran  arrayed  in  garments  of  rich  brocade,  and  having 

the  same  name  as  a  famous  keisei  of  olden  times.  Series:  Keisei 
Mitate  Retsu-sen  Den,  i.e.,  “Transformed  Representations  of 
Keisei  of  Clean  Character.”  Printed  for  the  members  of  the 
Tochigi  Ren. 

401  Genso  Kotei  Nyobo  Shi  Yu  Boku.  The  Chinese  Emperor  Ming 

Huang  of  the  T'ang  dynasty  seeing  a  vision  of  his  wife,  the  immortal 
Yang  Kuei-fei,  in  a  swirl  of  ink  rising  from  an  ink-stone  on  his 
library  table.  Printed  for  the  members  of  the  Ichio  Ren. 

402  Tori-kago  ni  Ume  ni  Uguisu.  Plum  blossoms  and  a  Japan  warbler  in 

a  bird-cage.  Printed  for  the  members  of  the  Bizen-Guni  Ren. 

403  The  Seventh  Ichikawa  Danjuro  in  Shibaraku.  As  the  print  does  not 

state  which  of  the  Danj uros  is  represented,  this  identification  is 
tentative.  It  may  depict  the  eighth  Danjuro  who  succeeded  to  the 
name  when  his  father  took  the  name  of  Ebizo,  retired  from  the 
Edo  stage  and  went  to  Osaka  in  1838. 

KOTO-GO-SHO-GWA 

“The  Four  Accomplishments,”  Music,  Playing  Games,  Writing,  and  Paint¬ 
ing.  Three  prints  of  the  set  of  four.  Each  signed,  Gakutei  Harunohu.  Size, 
8  x  10fi  inches.  All  fine  impressions,  in  fine  condition. 

404  Go.  Gaming.  Two  court  nobles  playing  the  go,  a  game  resembling 

checkers,  but  more  complicated.  A  court  lady  stands  beside  the 
players. 

405  Sho.  Calligraphy.  A  court  noble  seated,  turning  to  look  at  an 

inscription  written  upon  a  long  sheet  of  paper  that  a  lady  holds  up 
for  him  to  see.  Another  lady  in  the  foreground  holds  a  large  roll 
of  paper. 


139 


First  Evening 


406  Gwa.  Painting.  A  court  lady  showing  to  another  lady  an  ink  paint¬ 

ing  of  bamboos  that  a  nobleman  seated  near  them  has  just  finished 
painting. 

UTAGAWA  HIROSHIGE 

1797-1858 

407  Kaiko  Yoshinai  no  Zu.  “Picture  of  Silkworm  Raising.”  The  entire 

process  of  silk  culture  from  the  breeding  of  the  worms  to  the 
spinning  of  the  silk  shown  in  a  succession  of  small  pictures  scattered 
over  the  three  sheets  of  a  triptych.  Signed,  Hiroshige  gwa.  Date 
about  1845. 

Size,  13]/ 8  x  29  inches.  Good  impression,  in  good  condition. 

ROIOJ-JU-YO  SHU  MEISHO  ZU  KAI 

“Views  of  Famous  Places  in  the  Sipty-odd  Provinces .”  Five  prints  of  the 
series.  Each  signed,  Hiroshige  fude.  Size  13  if,  x  9  inches,  not  including  the 
margins. 

408  Iyo  Saijo.  The  little  seaport  of  Saijo  in  the  province  of  Iyo,  a  flat- 

topped  mountain  in  the  background.  Dated  1855. 

Fine  impression.  Trimmed  to  13  x  8V2  inches;  in  fine  condition 
otherwise. 

409  Izumo  O  Yashiro  Hotohoto  no  Zu.  A  foggy  day  in  the  grounds  of  the 

great  Shinto  shrine  in  the  province  of  Izumo.  Dated  1853. 
Exceptionally  fine  impression,  in  very  fine  condition. 

410  Noto  Taki  no  Ura.  A  waterfall  at  the  sea  shore  in  the  province  of 

Noto.  Dated  1855.  Engraved  by  Take. 

Fine  impression.  Trimmed  to  13f£  x  8 %  inches.  Otherwise  in  perfect 
condition. 

411  Harima  Maiko  no  Hama.  Maiko  beach,  province  of  Harima.  Dated 

1853. 

Good  impression,  in  good  condition. 

412  Omi  Biwa  Ko  Ishiyama  Dera.  Ishiyama  Buddhist  temple  on  the 

shore  of  Lake  Biwa,  province  of  Omi.  The  temple  which  is  on  the 


First  Evening 


140 


hillside  at  the  left  is  not  shown  in  the  picture.  Dated  1853. 
Engraved  by  Take. 

Very  fine  impression.  Trimmed  to  13}/%  x  8%  inches,  otherwise  in 
perfect  condition. 

EDO  MEISHO  KO  SEKI  DEN 

“  The  History  of  Famous  Historical  Places  in  Edo.”  Three  prints  of  the 
series.  Each  signed,  Hiroshige  gwa.  Size  10x7}/%.  Good  impressions,  in  good 
condition. 

413  Masaki  Inari  no  Yurai.  The  history  of  the  Inari  Shinto  shrine  at 

Masaki,  founded  by  Moritani,  who  is  shown  standing  just  within 
the  entrance,  holding  a  small  stand  on  which  a  tama  (crystal  gem) 
rests. 

414  Ushi  no  Gozen  no  Miya  Yurai.  Origin  of  the  pavilion  of  the  Ushi  no 

Gozen  Shrine,  founded  by  the  seventh  son  of  Seiwa  Tenno.  The 
founder  is  shown  seated  on  the  veranda  of  a  temple  by  the  sea. 

415  Kanda  O  Tama  ga  Ike.  The  pond  in  the  Kanda  district  called  the 

0  Tama  pond.  It  was  named  after  a  tea-house  waitress  who 
drowned  herself  in  it  because  she  could  not  decide  which  of  two 
lovers  she  liked  best.  She  is  shown  standing  leaning  against  a  tree 
and  contemplating  suicide. 


416  Sha  Tetsuro,  Shiba  Shin-mei  Shanai.  The  Sha  Tetsuro  tea-house  in 

the  grounds  of  the  Shin-mei  Shinto  shrine,  Shiba  district.  The 
buildings  of  the  shrine  at  the  right,  the  tea-house  across  the  street 
at  the  left.  Series:  Edo  Komyo  Kaiseki  Tsukushi,  i.e.,  “Famous 
Resorts  of  Edo.”  Signed,  Hiroshige  gwa. 

Size,  9}/ x  14/4  inches.  Very  fine  impression,  in  perfect  condition. 

417  Mompachi  no  Nikai  Yanagi  Bashi  Yukei.  Evening  view  of  the 

second  story  of  the  Mompachi  tea-house  at  the  Yanagi  bridge. 
Same  series  and  signature  as  lot  416. 

Size,  8%  x  13%  inches.  Very  fine  impression,  in  fine  condition 
Most  of  the  margins  have  been  trimmed  off  but  the  print  is  intact. 


141 


First  Evening 


TOKAIDO  GO-JU-SAN  TSUGI 

“The  Fifty-three  Post-stations  of  the  Tokaido.”  Five  prints  of  the  half¬ 
block  set  published  by  Sano-ya  Kihei.  Each  signed,  Hiroshige  gwa.  Size, 
6%  x  8%  inches.  All  ordinary  impressions,  in  good  condition. 

418  Nihon  Bashi.  The  vanguard  of  a  Daimyo  cortege  crossing  the  bridge. 

419  Odawara.  View  of  the  road  near  the  sea  where  men  are  hauling  in  a 

large  seine. 

420  Numazu.  The  rest-house  at  the  station;  Mt.  Fuji  in  the  distance  at 

the  left. 

421  Fuchu.  The  second  street  in  the  licensed  quarter. 

422  Kameyama.  The  road  leading  to  the  castle;  the  mountain  in  the 

distance  at  the  left. 

THE  FIRST  FISH  SERIES 

Nine  prints  of  the  pictures  of  fishes  published  by  Nishimura-ya.  Seven  of 
them  signed  Ichiryusai  Hiroshige  gwa,  the  last  two  signed  Hiroshige  gwa. 
Size,  x  inches.  All  extremely  fine  impressions,  in  very  fine  condition 
except  as  otherwise  specified. 

423  Katsuo  ni  Sakura.  A  Bonito  (Scomber  pneumatophorus)  and  clusters 

of  small  cherries  with  leaves  attached. 

424  Bora  ni  Udo  ni  Tsubaki.  A  Bora  (Mugil  japonicus,  a  species  of  mullet), 

ginseng,  and  a  branch  of  camellia  with  one  red  blossom. 

425  Kasago  ni  Hasaki  ni  Shoga.  Only  the  Japanese  names  of  the  fishes 

can  be  given.  With  them  three  young  stalks  of  ginger  (shoga)  are 
depicted. 

426  Aji  ni  Kuruma  Ebi.  Two  Horse-mackerel  and  two  Prawns. 

427  Kochi.  Two  Indian  Flatheads  (Platycephalus  indicus). 

Late  impression,  not  in  good  condition;  soiled. 

428  Tai  ni  Kinome.  A  cardinal  Sea-bream  (Pagrus  cardinalis),  and  leaves 

of  a  pepper  tree. 

429  Ise-ebi  ni  Shiba-ebi.  A  spring  Lobster  and  two  Shrimps. 


First  Evening 


142 


430  Awabi  ni  Sayori  ni  Momo-no-hana.  Two  Sea-ears  (Haliotis  tuber- 

culata),  a  Half-beak  (Hyporhamphus  sajori),  and  a  branch  of 
peach  blossoms. 

431  Kanagashira  ni  Karei.  Two  small-winged  Scaly-mullets  (Lepidotrigla 

microptera),  and  a  Flounder. 

THE  SECOND  FISH  SERIES 

Nine  prints  of  the  pictures  of  fishes  published  by  Yamada-ya  Shobei.  Each 
signed,  Hiroshige.  Size,  9}4  x  13lA  inches.  All  fine  impressions  in  fine  con¬ 
dition  unless  otherwise  specified. 

432  Saba  ni  Kani  ni  Asagao.  A  Mackerel  (Scomber  saba),  a  Crab,  and 

morning-glory  blossoms. 

433  Tobi-uo  ni  Ishimochi.  A  Flying-fish  (Excocetus)  and  an  Ishimochi 

(Sciaena  sina). 

434  Mutsu  ni  Uji  ni  Wasabi.  The  Japanese  names  of  the  fishes  are  given 

in  a  poem  that  appears  on  the  print.  Wasabi  is  the  Japanese 
variety  of  horse  radish. 

Good  impression,  in  poor  condition. 

435  Hirame  ni  Mebaru.  A  Plaice  and  a  species  of  Latylus. 

Good  impression,  in  poor  condition. 

436  Kanamedai  ni  Suzuki  ni  Asa-no-ni,  Gold-eyed  Sea-bream,  a  Japanese 

Perch-sea-wolf  (Percalabrax  japonicus),  and  hemp  seeds. 

437  Shimadai  ni  Ainame.  Striped  Bream  and  Rock-trout. 

438  Inada  ni  Fugu  ni  Kobai.  Yellow-tail  (Seriola  quinqueradiata),  the 

poison  fish  Tetrodon  hyxtis,  and  a  branch  of  red-flowered  plum. 

439  Koi.  A  Carp  (Cyprinus  haematopterus)  in  a  swirl  of  water. 

440  Konoshiro  ni  Sasa.  Pointed-konosiro  (Konosiro  punctatus)  and 

bamboo-grass. 


441  Inada  ni  Fugu  ni  Kobai. 

Another  impression,  in  poor  condition. 

442  Mackerel,  Crab,  and  Morning  Glories. 

Another  impression,  in  poor  condition. 


143 


First  Evening 


443  Bonito  and  Cherries. 

Another  impression,  in  poor  condition. 


No.  444 


KYOTO  MEISHO  NO  UCHI 

11  Famous  Places  in  Kyoto.”  Five  of  the  set  of  ten  prints,  and  one  duplicate. 
Each  signed,  Hiroshige.  Size ,  about  8 fix  14  inches. 

444  Shimabara  Deguchi  no  Yanagi.  “The  willow  tree  at  the  exit  from 

the  Shimabara,”  the  courtesan  quarter  of  the  Western  Capital;  a 
jolly  roysterer  being  helped  away. 

Good  impression,  in  good  condition.  See  illustration. 

445  Kiyomizu.  View  of  the  famous  Buddhist  temple  standing  on  a 

hillside,  surrounded  by  blossoming  cherry  trees. 

Good  impression,  in  fair  condition. 

446  Tsuten  Kyo  no  Kofu.  “Red  Maples  at  Tsuten  Bridge.” 

Good  impression,  in  fair  condition. 

447  Arashiyama.  Cherry  trees  in  bloom  on  the  mountain  side  at  the  foot 

of  the  Yoshino  rapids,  and  on  the  river  men  poling  a  raft. 

Good  impression,  in  fair  condition. 


First  Evening 


144 


No.  448 


48  Tadasu  Kawara  no  Yudachi.  The  river  bed  at  Tadasu  in  a  shower. 

Fine  impression,  in  fine  condition.  See  illustration. 

HIROSHIGE  AND  EISEN 

Kisokaido  Roku-Ju-Ku  Tsugi.  “The  Sixty-nine  Post-stations  of  the 
Kisokaido.”  Twelve  prints  of  the  series  and  one  duplicate.  Six  of  the  subjects 
were  designed  by  Hiroshige  and  bear  his  signature.  Six  are  by  Eisen.  One  of 
them  is  signed,  and  five  are  not.  All  the  prints  designed  by  Eisen  for  this  series 
were  signed  by  him  and  the  signature  appears  upon  impressions  of  the  first  edition 
issued  by  Take-Uchi.  When  the  blocks  were  acquired  by  Ise-ya  Rihei,  the  signa¬ 
ture  of  Eisen  was  removed,  and  presumably  Hiroshige’s  name  only  was  advertised. 
Size,  about  8)/2  x  13}/2  inches. 

449  Ageo  Shuku  Kamo  no  Yashiro.  The  Kamo  Shinto  shrine  at  Ageo 

station.  Its  blue  roof  appears  behind  the  banners  at  the  right 
of  the  rest-house.  First  edition.  Signed,  Keisai  gwa.  No.  6  of 
the  series. 

Fine  impression,  in  fine  condition. 

450  Shimmachi.  The  road  on  the  bank  of  a  river,  a  bridge  in  the  middle 

distance  over  which  travellers  are  passing,  and  in  the  far  distance 


145 


First  Evening 


blue  mountains  stand  out  against  a  golden  sky.  Signed,  Hiroshige 
gwa.  No.  12. 

Fine  impression,  in  fine  condition. 

451  Kurugano  Shuku  Karasukawa  no  Zu.  “View  of  the  Karasu  River  at 
Kurugano  Station.”  A  woman  seated  in  a  wayside  tea-booth, 
another  woman  scrubbing  a  cooking  pot,  and  four  small  boys 
playing  in  the  water  at  the  mouth  of  an  irrigation  canal.  By 
Eisen.  Not  signed.  No.  13. 

Fine  impression,  in  fine  condition. 


No.  452 


452  Itabana.  Farmers  and  travellers  on  the  road  lined  with  pine  trees 

near  the  station  in  heavy  snow.  By  Eisen.  Not  signed.  No.  15. 
Fine  impression,  in  fine  condition.  See  illustration. 

453  Karuizawa.  Night  scene.  A  traveller  on  horseback  stopping  to  get 

a  light  for  his  pipe  from  a  villager,  and  a  man  on  foot  bending  over 
to  light  his  pipe  at  a  blazing  brush  heap.  Signed,  Hiroshige  gwa. 
No.  19. 

Very  fine  impression,  in  fine  condition,  margins  trimmed  close. 

454  Kutsukake.  A  man  leading  pack-oxen  in  a  heavy  shower.  By  Eisen. 

Not  signed.  No.  20. 

Fine  impression,  in  good  condition,  margins  trimmed  close. 


First  Evening 


146 


455  Shionada.  Porters  resting  at  the  station  on  the  bank  of  the  Chikiuna 
River.  Signed,  Hiroshige  gwa.  No.  24. 

Fine  impression,  in  good  condition. 


No.  456 


456  Nagakubo.  Famous  moonlight  view  of  the  station  at  the  foot  of 

Tatsu-ga-take.  A  traveller  on  horseback  and  two  on  foot  cross¬ 
ing  a  bridge.  Impression  without  the  mountains  in  the  back¬ 
ground,  the  figures  on  the  bridge  in  sharp  relief.  Signed,  Hiroshige 
gwa.  No.  28. 

Fair  impression,  in  fine  condition.  See  illustration. 

457  Nagakubo.  Another  impression  with  the  mountains  in  the  background. 

Ordinary  impression,  in  fair  condition,  trimmed  to  814  x  ISff  inches. 

458  Suwara.  Travellers  in  the  rest-house  and  others  running  to  it  for 

shelter  from  a  pelting  rain.  In  the  background  others,  with  straw 
mats  over  their  heads  plod  along  through  the  downpour.  Signed, 
Hiroshige  gwa.  No.  40. 

Good  impression,  in  fine  condition. 

459  Magome  Eki  Toge  Yori.  “Magome  Station;  the  Approach  to  the 

Pass.”  Second  state.  The  outlines  and  markings  of  the  tall  gray 
peak  in  the  background  which  appear  in  the  first  state  of  the  blocks 


147 


First  Evening 


have  been  removed,  and  to  balance  the  composition  two  smaller 
blue  mountains  have  been  introduced  at  the  right,  the  result  of  these 
changes  being  a  manifest  improvement.  By  Eisen.  Not  signed. 
Fine  impression,  in  fine  condition. 


No.  460 


460  Oi.  Travellers  crossing  the  Ju-san  Toge,  or  thirteen  passes,  in  a  heavy 

snowstorm.  One  of  the  famous  prints  of  the  series.  Signed, 
Hiroshige  gwa.  No.  47. 

Good  impression,  in  fine  condition.  See  illustration. 

461  Kisoji  no  Eri  Koto  Nagara-gawa  Ukai  Bune.  Fishing  by  night  with 

cormorants  from  boats  on  the  Nagara  River  at  Koto  station.  Late 
edition.  By  Eisen.  Not  signed.  No.  55. 

Poor  impression,  in  fair  condition. 

KEISAI  EISEN 

Pupil  of  Kano  Haku-keisai  and  of  an  obscure  artist  named  Kinji  Shindo. 
Follower  of  Eizan  and  also  of  Hiroshige.  Born  about  1792;  died  184-8. 

162  Ryogoku.  View  of  the  Sumida  River  from  a  canal  entering  it  near 
Ryogoku  bridge.  Not  signed. 

Size,  6%  x  12%  inches.  Ordinary  impression,  in  fair  condition. 


First  Evening 


148 


463  Nihon  Bashi  no  Seiran.  “The  Evening  Glow  at  Nippon  Bridge.” 

A  busy  scene,  the  bridge  crowded  with  fishmongers  and  other 
tradespeople.  Series:  Edo  Hakkei.  Signed,  Keisai  Eisen  gwa. 

Size,  9x14  inches.  Fine  impression ,  in  fine  condition. 

464  Rokugo  no  Watashi.  “Rokugo  Ferry.”  Not  signed. 

Size,  7z/i  x  12%  inches.  Good  impression,  in  poor  condition. 


No.  465 

465  A  White  Hare,  Bush  Clover,  Suzuki  Grass,  and  Moon.  Surimono  for 

a  hare  year,  probably  1831.  Signed,  Keisai. 

Size,  8%x6%  inches.  Good  impression,  in  good  condition.  See 
illustration. 

466  The  First  Letter  of  the  Year.  A  geisha  seated  on  the  veranda  of  a 

dwelling  holding  a  letter  and  turning  to  look  around  to  the  right. 
In  the  background  a  gnarled  kobai  (red-flowered  plum)  in  full 
bloom.  Surimono.  Signed,  Keisai. 

Size,  8%  x  7  inches.  Fine  impression,  in  fine  condition. 


149 


First  Evening 


467  Kame  ni  Medaka.  Turtles  and  killifish  in  a  swirl  of  water.  Signed, 

Keisai. 

Size,  5]/gx  6%  inches.  Fine  impression,  in  fine  condition. 

TOTO  HAN  A  GOYOMI 

“A  Flower-calendar  of  the  Eastern  Capital.”  Five  prints  of  the  series. 
One  signed  Eisen  gwa,  the  others  signed  Keisai.  Size  6  %  x  9  inches.  All  fine 
impressions,  in  fine  condition. 

468  Sumida  Tsutsumi  no  Sakura.  Cherry  trees  in  bloom  on  the  Sumida 

River  embankment.  Signed,  Eisen  gwa. 

469  Shinobazu.  View  of  the  pond,  the  hill  on  the  farther  side  enveloped 

in  fog. 

470  Koganei  no  Sakura.  Cherry  trees  in  full  bloom  at  Koganei. 

471  Ueno  Kiyomizu  no  Sakura.  Cherry  trees  in  bloom  on  the  hillside 

above  the  Kiyomizudo  of  Toeizan  Temple,  Ueno. 

472  Nihon  Zutsumi  no  Sakura.  Cherry  trees  in  leaf  on  the  Nippon 

embankment. 

UTAGAWA  KUNIYOSHI 

1797—1861 

473  Wang  Siang.  Bereaved  of  his  mother  at  an  early  age,  Wang  (called 

Osho  by  the  Japanese)  was  brought  up  by  a  stepmother  who  dis¬ 
liked  him  and  cruelly  maligned  him  when  she  talked  about  him  to 
his  father.  Nevertheless,  when  in  winter  she  expressed  a  craving 
for  raw  fish,  he  took  off  his  clothes  and  lay  down  upon  the  frozen 
lake,  seeking  to  obtain  what  she  desired.  Suddenly  the  ice  cracked 
beside  him  and  a  pair  of  carp  appearing  in  the  opening  he  captured 
them,  carried  them  home  and  laid  them  before  his  unkind  relative. 
Series,  “The  Twenty-four  Paragons  of  Filial  Piety.”  Signed, 
Ichiyusai  Kuniyoshi  gwa. 

Size,  8 r  13%  inches.  Good  impression,  in  good  condition. 

474  Wu  Meng.  This  worthy,  called  Gomo  by  the  Japanese,  was  a  native 

of  Yu-chang  in  Kiangsu.  When  a  youth  he  always  let  the  mos¬ 
quitos  sting  him  freely  lest,  should  he  drive  them  away,  they  would 


First  Evening 


150 


go  and  bite  his  parents.  In  his  later  years  he  became  famous  as  a 
necromancer  and  was  canonized  after  his  death.  Series,  "The 
Twenty-four  Paragons  of  Filial  Piety.”  Signed,  Ichiyusai  Kuni- 
yoshi  gwa. 

Size,  8}z 2  x  13%  inches.  Fine  impression,  in  fine  condition. 

475  The  Paper  Snake.  A  geisha  turning  to  look  at  a  paper  snake  that 

some  one  has  thrown  toward  her.  Surimono  for  a  snake  year. 
Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  81/ g  x  7  inches.  Fine  impression,  in  fine  condition. 

476  Ikari.  “An  Anchor.”  This  is  shown  in  an  upright  position  on  the 

sands  at  Shinagawa  where  a  bare-footed  matron  stands  in  shallow 
water  holding  a  flounder  she  has  just  caught.  Surimono.  Series: 
Shiohi  Goban  no  Uchi,  i.e.,  “Five  Pictures  of  Low-tide.”  This  is 
No.  1.  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  8%  x  7  inches.  Fine  impression,  in  fine  condition. 

477  Hosokute  Horikoshi  Dai  Ryo.  Illustration  of  a  legend  of  the  village 

of  Hosokute  on  the  Kisokaido;  ghostly  apparitions  appearing  to 
Horikoshi  in  a  dream.  Series,  Kisokaido  Roku-ju-ku  no  Uchi. 
Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  13%  x  9Y>  inches.  Fine  impression,  in  fine  condition. 

478  Otsu,  Koman.  Illustration  of  a  legend  of  Otsu.  When  the  Genji 

leader  Yoshikata  was  overcome  by  the  Heike  forces  he  entrusted 
the  white  banner  of  his  clan  to  the  widowed  daughter  of  a  peasant. 
Pursued  by  the  Heike  warriors  she  attempted  to  save  the  banner 
by  jumping  into  Lake  Biwa  with  it  and  swimming  out  to  a  barge 
that  she  hoped  would  carry  her  across  the  lake.  When  it  was  too 
late  she  discovered  that  it  was  the  barge  of  Munemori,  the  Heike 
leader,  whose  men  attacked  her  and  cut  off  the  arm  with  which  she 
clutched  the  banner  and  it,  as  well  as  her  body,  disappeared  in 
the  lake.  See  Joly’s  “Legend  in  Japanese  Art,”  p.  189.  Same 
series  and  signature  as  No.  477. 

Size,  14  x  9%  inches.  Fine  impression,  in  fine  condition. 

479  Tanmeijiro  ni  Genshogo.  The  fight  under  water  between  Tanmeijiro, 

one  of  the  heroes  whose  deeds  are  recounted  in  the  Suikoden,  and 
Genshogo.  Series:  Suikoden  Goketsu  Hyaku-hachi-nen  no  Ichinen, 


151 


First  Evening 


i.e.,  “The  Valor  of  the  One-hundred-and-eight  Heroes  of  the 
Suikoden.”  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  14/4  x  -F'A,  inches.  Fine  impression,  in  fine  condition. 

480  Ariomaru  Killing  the  Octopus.  Ariomaru  was  a  servant  of  Shunkwan, 

the  chief  bonze  of  the  Hoshoji  temple,  who  joined  in  a  conspiracy 
against  Taira  Kiyomori  and  was  banished  to  Kikai-ga-shima  in 
1177.  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Size,  14/4  x  9%  inches.  Fine  impression,  in  good  condition. 

481  Shiki  Yukan  Noryo  no  Hoteru  Gari.  Three  women  catching  fireflies 

on  a  summer  evening.  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Triptych.  Size,  14Vs  x  A9  inches.  Fine  impression,  in  fine  condition. 

482  Chinzei  Hachiro  Tametomo  Kyuseia  no  Zu.  The  amazing  feat  of  Min- 

amoto  Tametomo  in  sinking  a  ship  of  the  Taira  force  sent  to  attack 
him.  He  was  seven  feet  tall  and  of  herculean  strength.  With  his 
great  bow,  which  no  other  man  could  bend,  he  sent  an  arrow  with 
such  force  that  it  pierced  the  hull  of  the  leading  ship  of  the  enemy 
and  caused  it  to  founder.  This  was  in  the  year  1170.  Signed, 
Ichiyusai  Kuniyoshi  gwa. 

Triptych.  Size,  14%  x  29  inches.  Good  impression,  in  good  condition  . 

483  Ryogoku  Bashi  Sei-zoroi.  The  Loyal  Ronin  assembling  at  Ryogoku 

bridge  for  the  night  attack  on  Moronao.  Eleventh  act  of  “Chu- 
shingura.”  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Triptijch.  Size,  15%  x  30  34  inches.  Good  impression,  in  fine  condition. 

484  The  Legend  of  the  Potted  Trees.  Kuniyoshi  depicts  a  version  of  the 

tale  slightly  different  from  the  usual  one.  Sano  Genzaemon 
Tsuneyo  returning  to  his  country  home  on  an  evening  in  winter 
when  the  ground  was  covered  with  snow,  finds  his  wife  Shiratae 
cutting  down  his  potted  trees  in  default  of  any  other  fuel  to  make 
a  fire  for  the  comfort  of  a  stranger  who  had  applied  for  shelter,  and 
who  turned  out  to  be  the  Hojo  Shikken,  Saimyo-ji-nyudo  Tokiyori. 
At  the  right  Miyuki,  Tsuneyo’s  sister,  is  bringing  a  bucket  of  water; 
and  within  the  house  where  the  great  man  stands,  in  the  garb  of  a 
Buddhist  abbot,  an  old  man  whose  name  is  given  as  Nikaido 
nyudo  is  shown  lighting  a  fire.  Signed,  Cho-o-ro  Kuniyoshi,  and 
Ichiyusai  Kuniyoshi  gwa. 

Triptych.  Size,  14%  x  29  inches.  Fine  impression,  in  fine  condition. 


First  Evening 


152 


485  Kanpei  Killing  Sadakuro.  A  striking  presentation  of  the  well-known 

incident  from  the  fifth  act  of  the  “Chushingura”  drama.  Sadakuro 
is  shown  covered  with  the  blood  of  the  murdered  Yoichibei. 
Signed,  Ichiyusai  Kuniyoshi  gwa. 

Diptych.  Size,  14Y  x  19%  inches.  Fine  impression,  in  fine  condition. 

486  Suikoden  Mitate  Tama  Fuki  no  Zu.  Heroes  of  the  Suikoden  trans¬ 

formed  and  given  soap-bubble  heads.  A  fantasy  probably  having 
some  hidden  political  significance.  Signed,  Ichiyusai  Kuniyoshi 
gwa. 

Uchiwa  mount.  Fine  impression,  in  fine  condition. 

487  Yashima  Ura  Kawazu  Kassen  no  Zu.  The  battle  of  the  frogs  at 

Yashima  by  the  Sea.  Signed,  Ichiyusai  Kuniyoshi  gwa. 

Uchiwa  mount.  Fine  impression,  in  fine  condition. 

488  Ryuko  Ukiyo  Hyotan.  Comic  illustration  of  the  proverb  that  “One 

cannot  catch  a  catfish  with  a  gourd.”  A  man  with  gourds  for  his 
head,  arms,  and  legs  is  shown  in  a  contest  of  strength  with  a 
dressed-up  catfish;  and  another  gourd-man  is  having  an  arm- 
wrestling  match  with  a  horse.  A  third  gourd-man  and  a  real  man 
look  on.  Signed,  Ichiyusai  Kuniyoshi  Gi-ga  (drawn  for  fun). 
Uchiwa  mount.  Fine  impression,  in  fine  condition. 

489  An  Animal  Bon  Odori.  A  badger  plays  the  samisen  while  a  fox,  a 

dog,  a  wolf,  an  otter,  a  bullfrog,  and  a  bat  dance.  All  the  creatures 
save  the  frog  and  the  bat  wear  fantastic  garments  and  the  bat 
has  a  kan-eboshi  on  his  head.  Signed,  Ichiyusai  Kuniyoshi  gwa. 
Uchiwa  mount.  Fine  impression,  in  fine  condition. 

UNKNOWN 

490  Tenugui  Kake  ni  Mejiro.  A  Japan  white-eye  perched  on  a  ring  upon 

which  a  blue  towel  hangs.  Signed  by  seal  only. 

Size,  9%  x  5%  inches.  Fine  impression,  in  fine  condition. 

491  Tsuki  ni  Rakugan.  Geese  flying  down  across  the  moon.  Unsigned 

uchiwa  mount,  apparently  a  late  nineteenth  century  work. 

492  The  same.  Another  impression. 


153 


First  Evening 


HEIGAN 

493  The  Hatching  of  a  Tengu.  The  bird-man  is  shown  breaking  the  shell 
and  coming  forth  fully  dressed!  Signed,  Heigan.  Dated  third 
month  ox  year  (April  1855). 

Size,  7  x  95/$  inches.  Fine  impression,  in  fine  condition. 


FUSATANE 

494  The  Sparrow’s  Gift.  Illustration  of  the  legend  of  the  tongue-cut 
sparrow.  The  old  man  rewarded  by  the  grateful  bird  bearing  home 
its  gift,  twro  sparrows  dressed  in  red  kimono  speeding  him  on  his 
way.  Signed,  Fusatane.  Dated  1855. 

Size,  7  x  8%  inches.  Fine  impression,  in  fine  condition. 


ROHO 

495  Nasubi  ni  Inago.  Egg  plant  and  locust.  Signed,  Roho. 

Uchiwa  mount.  Good  impression,  in  fair  condition. 


GYOKO 

496  A  Lucky  Man.  An  armorer  pausing  in  his  work  to  take  a  drink,  and 
exclaiming,  “Howlucky  I  am  to  be  here  to  see  the  beautiful  moon!” 
Signed,  Gyoko. 

Size,  5Fs  x  7}/%  inches.  Fine  impression,  in  fine  condition  save  for  a 
small  hole  below  the  moon. 


KOBAYASHI  KIYOCHIKA 

497  Moonlight  Scene.  Brilliantly  lighted  houses  on  either  side  of  a  river 
crossed  by  a  bridge.  The  moon’s  rays  and  those  from  the  windows 
of  the  house  on  the  right,  reflected  in  the  stream.  Not  signed. 
Size,  8fi  x  13]fi  inches.  Fine  impression,  in  fine  condition. 


THIRD  SESSION 

TUESDAY  AFTERNOON,  FEBRUARY  16,  1922 


AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  2:00  O’CLOCK 

Catalogue  numbers  498  to  750 


No.  498 

SUZUKI  HARUNOBU 

C.  1730-1770 

498  The  Caged  Locusts.  A  young  woman  standing  on  a  veranda  holding 
up  a  cage  of  singing  “mushi”  while  a  young  boy  capers  about  by 
her  side.  Signed,  Harunobu  gwa. 

Size,  11x8%  inches.  Fine  impression,  in  good  condition.  See 
illustration. 


155 


Second  Afternoon 


156 


499  Matsuchiyama  no  Bosetsu.  “Evening  Snow  on  Matsuchi  Hill.”  Ayouth 

and  two  girls  seated  by  a  kotatsu,  the  girls  playing  the  sugoroku 
game  of  a  journey  over  the  Tokaido.  Through  an  open  window  is 
a  vista  of  Matsuchi  hill  and  Taiko  bridge  covered  by  a  mantle  of 
snow.  Series:  Furyii  Edo  Hakkei,  i.e.,  “Eight  Fanciful  Edo 
Views.”  Signed,  Suzuki  Harunobu  gwa. 

Size,  10}/2  x  8  inches.  Good  impression,  in  good  condition. 

500  A  New  Year’s  Game.  An  oiran  seated  playing  a  samisen,  and  another 

woman  standing  looking  down  at  her  kamuro  who  is  playing 
mairi,  i.e.,  bouncing  a  ball.  Behind  the  standing  figure  is  a  papier- 
mache  image  of  Daruma  so  loaded  that  it  will  always  automatically 
assume  an  upright  position.  Signed,  Harunobu  gwa. 

Size,  105/ g  x  8  inches.  Fine  impression,  in  good  condition. 

501  Waiting.  An  oiran  standing  in  a  room,  turning  to  look  out  through 

the  open  shoji  to  the  Nippon  embankment  where  her  lover  is  seen 
coming  in  a  kago  to  visit  her.  On  the  engawa  behind  her  is  a 
bunch  of  autumn  flowers  and  grasses  in  a  bamboo  holder.  Signed, 
Harunobu  gwa. 

Size,  lOH  x  1%  inches.  Fine  impression,  in  fair  condition. 

502  Aki.  “Autumn,”  a  season  that,  in  old  Japan,  comprised  the  seventh, 

eighth,  and  ninth  months  of  the  lunar  calendar.  The  print  shows 
a  woman  in  a  blue-and- white-striped  yukata  in  a  kneeling  posture 
in  a  parlor,  with  a  girl  seated  by  her  side  while  both  look  out  through 
the  open  shoji  at  the  right,  where  bamboo  and  poem-slip  decorations 
for  the  Tanabata  festival  (seventh  day  of  the  seventh  month)  are 
seen  above  the  house  tops.  The  lantern  that  hangs  just  outside 
the  shoji  is  also  a  Tanabata  decoration.  Series:  Fuzoku  Shiki 
Kasen,  i.e.,  “Popularized  Four  Seasons.”  Signed,  Suzuki  Haru¬ 
nobu  gwa. 

Size,  11x8  inches.  Fine  impression,  in  good  condition. 

503  The  Cry  of  the  Stag.  Illustration  of  the  ode  by  Sarumaru  Daiyu, 

No.  5  in  the  “Hyakunin  Isshu.”  See  description  of  Lot  146.  A 


157 


Second  Afternoon 


stag  standing  near  a  maple  tree  by  a  waterfall  in  autumn  with  head 
lifted  as  it  calls  to  its  mates.  Signed,  Suzuki  Harunobu  gwa. 

Size,  10 x  8%  inches.  Good  impression ,  in  poor  condition. 

504  Matsukaze  and  Murasame.  Two  women  shiokumi  (salt-water 

carriers)  on  Suma  beach.  Illustration  of  the  ode  printed  above,  by 
Chunagon  Yukihira,  the  story  of  whose  amour  with  Matsukaze  is 
a  Japanese  classic. 

If  occasionally 
One  may  ask  about  me 
Pray  answer 
That  on  Suma  beach 
I  live  humbly,  dripping  with  sea-water. 

The  costumes  of  the  women  are,  of  course,  modernized.  Signed, 
Harunobu  gwa. 

Size,  10%  x  7%  inches.  Good  impression,  in  good  condition. 

505  A  Reverie.  A  tall  oiran  dressed  in  a  white  kimono  standing  on  the 

veranda  of  a  seiro  in  the  evening,  deep  in  thought,  with  head  bent 
forward.  Above,  shadows  of  revellers  within  the  house  appear  in 
silhouette  on  the  shoji.  Signed,  Harunobu  gwa. 

Hashira-e.  Size,  26%  %  -AA  inches.  Good  impression,  in  fair  con¬ 
dition,  colors  faded. 

506  O  Sen  and  the  Cuckoo.  The  popular  waitress  of  the  Kagi-ya  tea-house 

at  the  Kasamori  Shinto  shrine  standing  by  the  torii  and  turning  to 
look  at  a  cuckoo  flying  past  overhead.  Signed,  Harunobu  gwa. 

Hashira-e.  Size,  25%  x  4%  inches.  Good  impression,  in  good  con¬ 
dition. 

507  A  Smitten  God.  An  oiran  and  her  kamuro  holding  their  hands  to  their 

ears  to  shut  out  the  sound  as  Raijin  the  Thunder  God,  smitten  by 
the  woman’s  charms,  makes  ready  to  throw  her  a  love-letter  and 
in  his  excitement  drops  one  of  his  drumsticks.  Signed,  Suzuki 
Harunobu  gwa. 

Hashira-e.  Size,  27%,  x  4%  inches.  Fair  impression,  register  not 
quite  perfect.  See  illustration,  p.  15S. 


No.  507 


No.  50S 


159 


Second  Afternoon 


ISODA  KORYUSAI 

Worked  C.  1768-1786 

508  The  Black  Kappa.  A  tall  young  man  in  a  black  kappa  (overcoat) 
walking  in  the  snow,  carrying  a  closed  umbrella,  and  an  Odawara 
lantern  suspended  from  the  hilt  of  his  sword.  Signed,  Koryusai  gwa. 

Hashira-e.  Size,  27l/%  %  4lA  inches.  Fine  impression,  in  fine  con¬ 
dition.  See  illustration. 


No.  509 


509  The  Cock  Fight.  A  fight  between  a  white  and  a  brown  cock  on  a  hill¬ 
side  beneath  a  tachibana  tree.  Surimono  for  a  cock  year,  probably 
1777.  Signed,  Koryusai  gwa. 

Size,  10}z&x7}/2  inches.  Good  impression,  in  fair  condition.  See 
illustration. 


Second  Afternoon 


160 


No.  510 

510  Puppies  in  the  Snow.  Seven  puppies  grouped  together  beside  a 

clump  of  white  narcissus  under  a  thatched-roof  shelter  on  a  snowy 
day.  Surimono  for  the  dog  year  1778.  Signed,  Koryu  gwa. 

Size,  10%  x  7%  inches.  Good  impression,  in  good  condition.  See 
illustration. 

From  the  Vicomte  de  Sartiges  collection 

511  Hanami  no  Ichi.  “The  First  Flower- viewing.”  A  youth  helping  a  girl 

to  disembark  from  a  boat.  Series:  Furyu  Ju-ni  Gatsu,  i.e., 
“Fanciful  Twelve  Months.”  Not  signed. 

Size,  5x5 Ys  indies.  Good  impression,  in  good  condition. 

512  Pheasants.  Two  birds  under  a  pine  tree  on  a  tall  cliff.  Signed, 

Koryu  gwa. 

Size,  9x6 %  inches.  Ordinary  impression,  in  poor  condition. 

From  the  Vicomte  de  Sartiges  collection 


161 


Second  Afternoon 


513  Ikebana.  A  woman  standing,  looking  at  a  flower  arrangement  of 

iris  in  a  hanging  vase,  which  has  just  been  put  in  place  by  her 
.  companion  who  holds  a  pair  of  shears  and  is  rising  to  her  feet. 
Signed,  Koryu  gwa. 

Hashira-e.  Size,  27%  x  4%  inches.  Poor  impression,  one  color  ( the 
blue )  out  of  register.  In  good  condition. 

514  The  Hozuki.  A  tall  woman  examining  a  hozuki  (ground  cherry, 

called  also  winter  cherry)  and  pressing  it  with  her  fingers  to  make 
it  emit  a  squeaking  sound.  Signed,  Koryusai  zu. 


Hashira-e.  Size,  26 Yz  x 
inches.  Good  impression,  in  good 
condition,  colors  softly  faded. 

KATSUKAWA  SHUNSHO 

Pupil  of  Miyagawa  Shunsui.  Born 
1726;  died  January  22,  1793. 

515  The  Third  Segawa  Kikunojo  as 

a  woman  dressed  in  white, 
standing  in  the  snow  near  a 
brush  fence.  Signed,  Shunsho 
gwa. 

Size,  12%  x  5 14  inches.  Very 
fine  impression,  in  perfect  condi¬ 
tion.  See  illustration. 

516  Scene  from  Chushingura,  Act  IX. 

Kakogawa  Honzo  in  komuso 
disguise  at  the  gate  of  Yuro- 
nosuke’s  house  in  Yamashina: 
his  wife  Tonase  preparing  to 
slay  their  daughter  Tonase. 
Signed,  Shunsho  gwa. 

Size,  10  x  7  Vi  inches.  Ordinary 
impression,  in  fair  condition. 


No.  515 


Second  Afternoon 


162 


No.  517 


No.  518 


517  The  Third  Matsumoto  Koshiro  as  Matsuomaru  in  “Sugawara”  at 

Nakamura-za,  February  1768.  Signed  with  seal  only. 

Size,  12%xB%  inches.  Good  impression,  in  fair  condition.  See 
illustration. 

518  The  Second  Bando  Mitsugoro  as  a  man  standing  on  a  veranda,  holding 

an  open  fan;  Mt.  Fuji  in  the  background.  Signed,  Shunsho  gwa. 

Size,  12%  x  5%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

519  The  Third  Sawamura  Sojuro  as  Soga  no  Juro.  As  he  played  this  role 

many  times  the  particular  performance  has  not  been  identified. 
Signed,  Shunsho  gwa. 

Size,  11%  x  5}/, {  inches.  Fine  impression,  in  fine  condition. 


163 


Second  Afternoon 


No.  520  No.  521 


520  The  Fifth  Ichikawa  Danjuro  as  (?)  Kakogawa  Honzo  in  “Chushingura” 

at  Morita-za,  autumn  of  1779.  Signed,  Shunsho  gwa. 

Size,  13 Id  x  5  }A  inches.  Very  fine  impression,  in  perfect  condition 
save  for  one  small  moth  hole.  See  illustration. 

521  The  Fifth  Ichikawa  Danjuro  as  Sukeroku  in  the  shosa  (mimetic  dance) 

“Sukeroku  Kuruwa  no  Natorigusa,”  in  the  second  act  of  the 
drama  “  Nanakusa  Yoso-oi  Soga”  at  Nakamura-za,  February  1782. 
Signed,  Shunsho  gwa. 

Size,  11%x514  inches.  Fine  impression,  trimmed  a  little  at  the  foot, 
otherwise  in  fine  condition.  See  illustration.  Illustrated  also  on  Plate 
L  of  the  V.-f.  Harunobu-Koriusai-Shunsho  Catalogue. 


Second  Afternoon 


164 


No.  522 


522  Scene  from  a  Drama.  The  fifth  Ichikawa  Danjuro  as  Seigen,  and 

the  fourth  Ichikawa  Danzo  as  Oniwo,  in  "Edo  no  Hana 
Mimasu  Soga”  at  Nakamura-za,  February  1783.  Signed,  Shunsho 
gwa. 

Size,  12 Yu  x  8%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

523  Onoe  Matsusuke  as  a  man  dressed  in  an  Indian-red  overcoat,  standing 

by  a  brush  fence  with  branches  of  a  kobai  tree  in  bloom  hanging 
down  beyond  it.  Signed,  Shunsho  gwa. 

Size,  12  x  5z/i  inches.  Fine  impression,  in  fine  condition.  See  illus¬ 
tration. 


165 


Second  Afternoon 


No.  523  No.  524 

KATSUKAWA  SHUNKO 

Pupil  of  Shunshd.  Date  of  birth  unknown;  died  in  1827 .  Worked  from 
about  1770  to  about  1789,  when  he  was  incapacitated  by  a  stroke  that  paralyzed 
his  right  side  and  arm. 

524  Otani  Tokuji  as  Gihei  in  “Chushingura,”  probably  in  the  performance 

of  that  drama  at  the  Kiri-za  in  the  autumn  of  1787.  Signed, 
Katsukawa  Shunko  gwa. 

Size,  lll^xJ^fi  inches.  Fine  impression,  in  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  LXV  of  theV.  / .  Harunobu-Koriusai- 
Shunsho  Catalogue. 

525  Scene  from  a  Drama.  The  second  Yamashita  Kinsaku  as  a  woman 

standing,  holding  a  white  banner,  the  end  of  which  is  grasped  by 


Second  Afternoon 


166 


the  second  Nakamura  Sukegoro  who  is  seated  on  the  floor  at  her 
feet.  Signed,  Shunko  gwa. 

Size,  12%  %  6  inches.  Fine  impression,  in  good  condition. 

526  Onoe  Matsusuke  in  His  Dressing  Room  making  up  for  the  role  of 

Asahina  which  he  played  in  the  drama  “Nanakusa  Yoso-oi  Soga” 
at  Nakamura-za  in  February  1782.  Signed,  Shunko  gwa. 

Size,  12x5%  inches.  Fine  impression,  in  fine  condition. 

TORII  KIYONAGA 

527  The  Dropped  Lantern.  Two  young  women  in  a  garden  at  the  corner 

of  a  house;  one  of  them  has  dropped  a  lantern  upon  the  ground  and 
turns  to  look  at  it  while  her  companion  laughs  at  her.  Signed, 
Kiyonaga  gwa. 

Size,  91/ §  x  7%  inches.  Good  impression,  in  good  condition. 

GONIN  BAYASHI 

The  five  hina-ningyo  or  ceremonial  dolls  that  it  is  customary  to  set  out  on 
the  shelf  of  the  hina-dani  below  that  where  the  dolls  representing  the  Emperor 
and  Empress  are  placed  for  the  celebration  of  the  Hina  Matsuri,  or  Doll  Festival 
on  the  third  day  of  the  third  month.  Set  of  five  prints,  each  signed  Kiyonaga 
gwa.  Size,  10x7  %  inches.  All  fine  impressions,  in  fine  condition. 

528  A  Tsuzumi-player  Doll.  The  ko-tsuzumi  held  by  the  doll  is  a  long 

snare-drum  with  a  small  cylinder  and  large  heads,  held  against  the 
shoulder  and  struck  with  the  palm  of  the  hand. 

529  A  Yokobue-player  Doll.  Yokobue  is  the  Japanese  name  for  a  flute. 

530  An  Uta-daiko-player  Doll.  The  uta-daiko  is  a  small  drum  called  the 

song  drum  as  it  is  often  played  as  an  accompaniment  in  singing. 

531  An  O-tsuzumi-player  Doll.  The  O-tsuzumi  is  a  slightly  larger  drum 

than  the  ko-tsuzumi.  It  is  known  as  the  “side-drum”  as  it  is  held 
against  the  player’s  side  when  it  is  being  struck. 

532  An  Utai-singer  Doll.  The  utai  is  a  kind  of  song  only  slightly  modified 

from  the  chanted  accompaniment  to  the  N5. 


167 


Second  Afternoon 


533  The  Black  Dog.  A  woman  coming  from  her  morning  bath  wrapped  in 

a  blue-and-white  yukata,  turns  to  speak  to  her  dog  who  is  greeting 
her  by  capering  about  on  the  veranda.  Signed,  Kiyonaga  gwa. 

Hashira-e.  Size,  27  }4  x  JfiA  inches.  Good  impression,  in  fair  con¬ 
dition. 

534  The  Lantern.  Hanaogi  of  Ogi-ya  promenading,  attended  by  her  kamuro 

and  by  a  gifu  (man  servant)  bearing  a  hand  lantern.  Series:  Seiro 
Jusshu-ko,  i.e.,  “Ten  Varieties  of  the  Incense  of  the  Green  Houses.” 
Signed,  Kiyonaga  gwa. 

Size,  9%x7%  inches.  Fine  impression,  in  fine  condition  save  for 

two  moth  holes. 

535  Yuranosuke  at  Ichimonji-ya.  The  well-known  triptych  showing  the 

leader  of  the  Loyal  Ronin  playing  blind-man’s-buff  with  the  women 
in  the  garden  of  the  seiro  to  baffle  Moronao’s  spies  Kudayu  and 
Bannai  and  lead  them  to  think  him  entirely  given  over  to  a  dissolute 
life.  Signed,  Kiyonaga  gwa. 

Triptych.  Size,  lJ^b/gx29  inches.  Good  impression,  not  in  very  good 
condition . 

536  Gompachi  and  Komurasaki.  The  lovers,  in  komuso  attire,  but  carry¬ 

ing  their  basket  hats  in  their  hands,  walking  side  by  side.  Signed, 
Kiyonaga  gwa. 

Size,  12  }4  x  8 As  inches.  Good  impression,  in  fair  condition. 

537  Under  the  Cherry  Trees.  Three  young  women  strolling  beneath 

blossoming  cherry  trees.  Series,  Tosei  Yuri  Bijin  Awase. 

538  Ushiwaka  Serenading  Joruri-hime.  Right-hand  sheet  of  the  earlier 

of  the  two  triptychs  of  this  subject  designed  by  Kiyonaga.  Joruri 
is  shown  standing  with  three  of  her  women  attendants  waiting  for 
Reizei  to  bring  the  young  Yoshitsune  to  her.  Signed,  Kiyonaga 
gwa. 

Size,  lfifr  x  9%  inches.  Fine  impression,  the  beni  a  little  off  register 
at  the  left  as  usual.  In  fine  condition  except  that  it  has  been  trimmed  down 
from  15  x  10  inches. 

539  Middle  Sheet  of  the  Same  Triptych.  Another  group  of  Joruri’s  ladies- 

in-waiting.  Signed,  Kiyonaga  gwa. 

Size,  1 5  A  %  10  inches.  Fine  impression,  in  fine  condition. 


Second  Afternoon 


168 


540  A  Garden  Party.  Right-hand  sheet  of  a  triptych.  Three  women 

and  a  girl  grouped  upon  a  red  rug.  One  woman  is  tying  a  poem  to 
a  cherry  branch,  another  is  seated  before  a  low  table  ready  to  cut 
slices  of  tofu,  and  the  third  is  fanning  a  charcoal  fire  in  a  long  brazier 
to  toast  the  slices  and  make  the  delicacy  known  as  yaki-dofu  or 
broiled  tofu.  Signed,  Kiyonaga  gwa. 

Size,  15  x  10  inches.  Good  impression,  in  good  condition. 

***  The  other  two  sheets  of  the  triptych  are  described  in  the 
British  Museum  Catalogue  (Kiyonaga  No.  50,  p.  125),  but  the 
title,  “The  Winding  Water  Game,”  would  not  there  have  been 
given,  it  is  safe  to  say,  had  the  writer  of  the  description  had  the 
entire  composition  before  him.  This  shows  how  difficult  it  some¬ 
times  is  to  make  out  the  subject  of  a  triptych  from  only  one  ox- 
two  of  the  sheets. 

541  Geisha  at  a  Party.  Left-hand  sheet  of  a  diptych,  showing  two  geisha 

seated,  a  third  standing,  and  a  maid  bringing  a  samisen  in  a  long 
box  to  the  woman  seated  in  the  foreground  who  is  dressed  in  a 
black-and-blue  kimono.  The  women  are  in  a  room  that  looks  out 
upon  a  garden.  In  the  right-hand  sheet  (which  is  not  included  in 
this  collection),  the  host  and  his  guests  are  shown,  and  also  other 
entertainers.  Signed,  Kiyonaga  gwa. 

Size,  14' A  x  9 %  inches.  Very  fine  impression,  in  fine  condition.  See 
illustration. 

BANRI 

542  Nii-dera  no  Bansho.  “The  Vesper  Bell  at  Niidera.”  Two  young 

women  walking  on  the  bank  of  the  Surnida  River  at  its  mouth. 
Series:  Nakasu  Hakkei,  i.e.,  “Eight  Views  of  Nakasu.”  Signed, 
Banri  gwa. 

Size,  8]A.  x  6  inches.  Ordinary  impression,  in  good  condition. 

HOSODA  EISHI 

1756-1829 

543  The  Tayu  Takigawa  of  Tama-ya  promenading,  attended  by  herkamuro 

Chidori  and  Namiji,  and  by  two  shinzo.  Signed,  Eishi  gwa. 

Size,  14  A  x  9  A  inches.  Fine  impression,  in  fair  condition. 


169 


Second  Afternoon 


No.  541 


544  Fair  Visitors  to  the  Kono-o  Tea-house,  a  resort  at  Sode-ga-ura,  noted  for 

the  great  bronze  dragon  fountain,  and  other  bronze  figures  of  animals 
in  the  grounds.  Left-hand  sheet  of  a  triptych.  Signed,  Eishi  zu. 
Size,  14Ys  x  9%  inches.  Fine  impression,  in  good  condition. 

545  Yochu.  “The  Middle  of  Spring.”  Two  women  and  a  girl  visiting  a 

Shinto  shrine.  One  of  the  women  carries  a  small  boy  on  her  back; 
the  girl  carries  a  small  framed  picture  of  two  foxes  guarding  a 
crystal  gem.  Series:  Furyu  Ju-ni  Tsuki,  i.e.,  “Fanciful  Twelve 
Moons.”  Signed,  Eishi  gwa. 

Size,  9Ysx7fi  inches.  Fine  impression ,  in  good  condition,  colors 
somewhat  faded. 


Second  Afternoon 


170 


No.  546 


546  The  Tayu  Takigawa  of  Ogi-ya  dressed  to  receive  a  new  patron.  One 

of  Eishi’s  most  important  prints.  Series:  Seiro  Bijin  Awase,  i.e., 
“A  Group  of  Green-house  Beauties.”  Signed,  Eishi  Gi-gwa  (play¬ 
fully  depicted). 

Size,  15%  x  9^8  inches.  Fine  impression,  in  fair  condition.  Slightly 
toned  and  stained.  See  illustration. 

547  A  Modern  Komachi.  Large  head  and  bust  portrait  of  an  oiran  holding 

and  admiring  a  flower.  Series:  Ryaku  Rok-kasen;  i.e.,  “Elegant 
Informal  Presentation  of  the  Six  Famous  Poets.”  Signed,  Eishi  zu. 

Size,  13%  x  9%  inches.  Fine  impression.  Trimmed  from  15  x  10 
inches.  Otherwise  in  fine  condition.  See  illustration. 


171 


Second  Afternoon 


No.  547 


KITAGAWA  UTAMARO 

1753-1806 

548  A  Musical  Entertainment.  Two  young  women  standing  on  a  red 
rug  on  the  floor  of  a  parlor,  one  playing  the  ko-tsuzumi,  and  one 
the  O-tsuzumi,  while  two  other  young  women  seated  behind  them 
play  the  samisen.  Middle  sheet  of  a  triptych.  Signed,  Utamaro 
gwa. 

Size,  12  A  %  8 A  inches.  Fine  impression,  in  fine  condition. 


Second  Afternoon 


172 


549  Woman  Weaving,  seated  at  a  loom,  with  a  blue-and-white  towel 

wound  about  her  coiffure.  Series:  Fujin  Tewaza  Sokan,  i.e., 
“Handicrafts  of  Women.”  Signed,  Utamaro  fude. 

Size,  15  x  9  J/g  inches.  Fine  impression,  in  good  though  not  quite  im¬ 
maculate  condition. 

550  A  Falcon  Perched  on  a  Kobai  Branch.  Gripped  with  his  talons  the 

falcon  holds  a  small  bird  it  has  captured.  Signed,  Utamaro  fude. 

Size,  121A  %  inches.  Fine  impression,  in  fine  condition  though 
somewhat  toned. 

From  the  Vicomte  de  Sartiges  collection 

551  Falcon,  Pine,  and  Sun.  The  bird  is  perched  upon  the  stub-end  of  a 

broken  branch  of  an  old  pine  tree,  its  body  in  relief  against  the  disc 
of  the  sun  which  is  red  at  the  top  where  it  has  risen  above  the  white 
cloud  that  still  hides  its  lower  half.  A  vigorous  drawing,  broadly 
treated  and  freely  executed.  Signed,  Utamaro  fude. 

Size,  l^/s  x  10y&  inches.  Good  impression,  in  good  condition. 

From  the  Vicomte  de  Sartiges  collection 

552  His  First  Catch.  A  young  mother  supporting  her  young  son  as  he 

leans  over  a  shallow  washtub  and  has  caught  a  toy  carp  that  was 
swimming  therein.  Signed,  Utamaro  fude 

Size,  15Ys  x  10/d  inches.  Fine  impression,  in  fine  condition. 

553  The  Cat’s  Dream.  A  pussy  curled  up  on  a  bolt  of  cloth  fast  asleep 

dreams  that  a  mackerel  that  it  had  captured  from  the  kitchen 
larder  is  being  reft  from  it  b}^  the  master  of  the  house  while  the 
mistress  looks  on.  Signed,  Utamaro  fude. 

Size,  lJ+%  x  10  inches.  Good  impression,  in  good  condition. 

554  Hiyoku-zuka  Hanakawado  no  Dan  Chobei  Nyobo  O  Toki.  OToki,wife 

of  Chobei  of  Hanakawado,  standing  before  a  tsuitate  bearing  an  ink- 
picture  of  a  shishi,  and  putting  on  her  obi.  Series,  Ayatsuri  Moyo 
Taki  no  Hito  Fushi.  Signed,  Utamaro  fude.  Dated,  tiger  year,  1806. 
Size,  15Y>  x  10  inches.  Fine  impression,  in  good  condition. 

555  Preparations  for  a  Feast.  A  young  woman  grating  daikon  to  serve 

with  the  sashimi  (slices  of  raw  fish)  arranged  on  a  large  platter 
resting  on  a  low  table  by  her  side.  Beyond  the  table  her  mother 
is  seated,  wiping  a  cup.  Signed,  Utamaro  fude. 

Size,  15V8  x  10  inches.  Fine  impression,  in  fine  condition. 


173 


Second  Afternoon 


No.  556 


556  Shiratsuyu  of  Wakana-ya  seated,  writing  a  letter.  Series:  Nat.ori 

Sake  Rokkasen,  i.e.,  “Famous  Brands  of  Sake  and  Six  Famous 
Poets.”  The  series  title  inscribed  upon  a  sakazuki,  and  beside  it 
is  a  cask  of  the  famous  “Manganji  Yomei-shu”  brand  of  sake. 
Signed,  Utamaro  fude. 

Size ,  14%  x  9%  inches.  Very  fine  impression,  in  very  fine  condition. 
See  illustration. 

557  Shizuka  of  Tama-ya  seated,  drawing  a  black  uchikake  over  her 

shoulders.  Same  series  as  the  preceding  lot.  Signed,  Utamaro 
fude. 

Size,  14V\x9x/2  inches.  Very  fine  impression,  in  very  fine  condition. 


Second  Afternoon 


174 


558  The  Korean  Procession.  The  procession  of  the  Korean  Ambassador 
and  his  suite  parodied  by  the  women  of  the  Yoshiwara  in  a  niwaka 
or  burlesque  performance  in  the  streets  of  the  licensed  quarter. 
A  famous  print.  Signed,  Utamaro  fude. 

Septatych.  Size,  1 4)  2  x  6‘9 Lt  inches.  Fine  impression,  in  very  fine 
condition. 


No.  559 


559  Hitamoto  of  Daimonji-ya.  Large  head  and  bust  portrait  of  the  tayu. 
Signed,  Utamaro  fude. 

Size,  13  x  8%  inches.  Fine  early  impression,  in  fine  condition.  See 
illustration. 


/ 


175 


Second  Afternoon 


560  The  Picture  of  the  Demon-queller.  A  woman  showing  her  young  son 

a  very  large  picture  of  Shoki,  painted  by  Sukoku,  which  another 
woman,  who  is  smiling  at  the  impression  it  makes,  has  hung  from  a 
bamboo  pole.  Signed,  Utamaro  gwa. 

Size ,  10  x  inches.  Fine  impression,  in  fine  condition. 

EHON  KYO-GETSU-BO 

“ Picture-book  of  Moon-views .”  The  five  prints  from  this  book  of  pictures 
and  comic  odes  published  by  Tsida-yci  Juzaburo  in  1789.  Each  10  x  15  inches. 
Not  signed.  All  good  impressions,  in  fair  condition. 

561  The  Moon  Palace  of  the  Immortals.  The  Chinese  Emperor  Ming 

Huang  and  an  attendant  crossing  the  aerial  bridge  to  the  palace  in 
the  moon  to  join  his  beautiful  concubine,  the  famous  Yang  Kuei-fei. 

562  Chunagon  Yukihira  at  Suma  beach,  watching  the  full  moon  rising  over 

the  sea. 

563  Evening  at  a  Mountain  Farm.  The  farmer  is  at  work  by  the  side  of  a 

brook  in  which  the  moon  is  reflected;  his  wife  stands  by  the  house 
with  her  two  sons  who  gleefully  welcome  the  bright  disc  rising 
above  the  mountain  tops  in  the  eastern  sky. 

564  Moonlight  in  the  Yoshiwara.  A  group  of  women  and  a  male  guest  at 

supper  in  an  upper  room  of  a  seiro  pause  to  look  at  the  full  moon 
rising  over  the  roofs  of  the  city. 

565  Moonrise  in  the  Mountains.  Landscape  in  grays  and  black.  In  the 

centre  a  stream  coming  down  in  a  series  of  cascades  is  crossed  by  a 
dobashi  on  which  a  farmer  carrying  bundles  of  fagots  is  seen  in 
silhouette  against  the  rising  moon. 


566  Kai  Awase.  “The  Shell  Game.”  A  company  of  women  gathered  in  a 
parlor  ready  to  play  the  game,  the  shells  neatly  arranged  in  con¬ 
centric  circles  in  the  center  of  the  group.  Double-page  illustration 
from  another  book  of  pictures  and  odes.  Not  signed. 

Size,  10  x  15  inches.  Fine  impression,  in  good  condition. 


Second  Afternoon 


176 


567  Feeding  the  Caged  Bird.  Four  women  on  a  veranda  preparing  food 

for  a  bird  in  a  cage  that  one  of  them  holds.  At  the  left  a  maid 
servant  bringing  flowers  on  a  tray  respectfully  bows  low  while  her 
mistress  motions  for  her  to  come  forward.  On  a  tsuitate  within 
the  house,  in  the  background,  is  a  picture  of  Mt.  Fuji  seen  from 
Miho-no-Matsubara.  Double-page  picture  from  “Otoka  Toka,” 
a  book  of  pictures  and  odes  published  in  1798. 

Size,  8%  x  14% s  inches.  In  poor  condition. 

568  The  Football  Player.  A  tall  young  man  at  football  practice  under  a 

willow  tree.  The  Japanese  game  is  quite  unlike  the  Western  game. 
It  consists  in  skilful  juggling  of  a  feather-weight  ball  and  is  played 
in  an  enclosed  court.  This  figure  by  Utamaro  is  one  of  rare  dis¬ 
tinction.  Signed,  Utamaro  fude. 

Hashira-e.  Size,  23%  x  4%  inches.  Good  impression,  in  fair  con¬ 
dition. 

569  Drawers  of  Sea-water.  A  young  man  and  seven  women  shiokumi,  or 

drawers  of  sea-water  for  use  in  making  salt.  A  modern  analogue 
of  the  story  of  Yukihira  at  Suma  beach.  Signed,  Utamaro  fude. 

Triptych.  Size,  14%  %  29%  inches.  Ordinary  impression,  in  poor 
condition . 

570  Making  Mawata.  A  woman  bending  over  and  talking  to  her  daughter 

who  is  making  mawata  (wadding)  out  of  waste,  or  floss  silk,  by 
forming  it  into  sheets  and  drying  it  over  a  small  heater  called  a 
nurioke.  A  print  that  is  interesting,  among  other  things,  for  the 
peculiar  coiffure  of  the  mother.  Series:  Fujin  Tewaza  Ju-ni  Ko, 
i.e.,  “Twelve  Handicrafts  of  Women.”  Signed,  Utamaro  fude. 

Size,  14  V2  x  9%  inches.  Good  impression,  trimmed  down  from  15  x  10 
inches,  otherwise  in  good  condition. 

571  Weaving.  A  woman  seated  at  a  loom,  holding  a  shuttle  and  turning 

to  speak  to  another  woman  who  shows  her  a  bolt  of  plaid  cloth. 
Same  series  and  signature  as  the  preceding  lot. 

Size,  14%  x  9%  inches.  Fine  impression,  in  good  condition. 

572  Woman  Playing  with  a  Pom-pin.  Another  impression  of  this  much 

admired  print.  See  description  of  Lot  312. 

Size,  14x9%  inches.  Fine  impression,  trimmed  and  somewhat  soiled. 


177 


Second  Afternoon 


No.  573 


573  Woman  Counting  upon  her  Fingers.  Three-quarter  length  standing 

figure.  Mica  ground.  Series:  Fujin  Sogaku  Jittai,  i.e.,  “Ten  Types 
of  Female  Physiognomy.”  Signed,  Soken  (Physiognomist)  Uta¬ 
maro  fude. 

Size,  UH  x  9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  XVII  of  the  V.-I.  Utamaro 
Catalogue. 

574  Nursing  her  Baby  Boy.  A  woman  seated  before  a  mirror  stand, 

nursing  her  infant  son  and  bending  her  head  forward  to  look  at  and 

admire  him.  Signed,  Utamaro  fude. 

Size,  Ufi/i  x9V2  inches.  Fine  impression,  in  fine  condition. 


* 


.  577 


179 


Second  Afternoon 


575  The  Quiet  Sort.  "All  should  be  like  that.”  Head  and  bust  portrait 

of  a  young  woman.  Series:  Bijin  Menso  Ju-tai  no  Zu,  i.e., 
“The  Physiognomy  of  Ten  Kinds  of  Beauties.”  Signed,  Utamaro 
fude. 

Size,  7%  x  5  inches.  Good  impression,  in  good  condition. 

576  Uwaki  no  So.  “The  Frivolous  Type.”  Three-quarters  length  figure 

of  a  woman  holding  a  towel,  one  end  of  which  is  flung  over  her 
shoulder.  Mica  ground.  Series,  Fujin  Sogaku  Jittai.  Signed, 
Soken  (Physiognomist)  Utamaro  fude. 

Size,  15  x  9%  inches.  Fine  impression,  faded  and  not  otherwise  in 
perfect  condition.  Nevertheless  it  still  retains  its  charming  quality,  and 
it  is  one  of  Utamaro's  most  distinguished  works. 

577  An  Outing  at  Enoshima.  Men,  women  and  children  disporting  them¬ 

selves  on  the  rocks  at  low  tide.  Signed,  Utamaro  gwa. 

Triptych.  Size,  14/4x30  inches.  Good  impression,  in  fair  condition, 
the  left-hand  sheet  somewhat  stained.  See  illustration. 

578  The  same.  Left-hand  sheet  only.  Ordinary  impression,  not  quite 

perfect  in  register,  but  full  size  and  colors  not  faded. 

579  A  Hawking  Party.  An  Ukiyoe  fantasy,  all  the  members  of  the  party, 

save  one  young  samurai  who  carries  the  hawk  on  his  wrist,  being 
women.  They  are  grouped  at  a  walled  landing  place  on  the  bank 
of  a  river  and  are  waiting  for  ferry  boats  to  take  them  across. 
Signed,  Utamaro  fude. 

Triptych.  Size,  Iff 2  x  29  inches.  Ordinary  impression,  in  good 
condition. 

580  Two  Famous  Lovers.  “Keisei  Umegawa  ni  Hikyaku-ya  Chubei” 

(Umegawa  the  courtesan,  and  Chubei  the  courier).  Of  the  many 
prints  by  Utamaro  in  which  these  lovers  figure,  this  is  by  far  the 
finest.  Series:  .Jitsu  Kurabe  Iro  no  Minakami,  i.e.,  “Faithful 
Hearts  the  Source  of  Love.”  Signed,  Utamaro  fude. 

Size,  14%  x  9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration,  p.  180. 

581  Chushingura,  Act  X.  The  opening  scene.  0  Sono  watching  Igo  who  is 

amusing  her  son  Yoshimatsu  with  a  puppet.  Signed,  Utamaro  fude. 

Size,  circidar  composition  on  a  sheet  12%x&%  inches.  Good  im¬ 
pression,  in  good,  condition. 


Second  Afternoon 


180 


582  A  Yatori-onna.  A  woman  attendant  in  an  archery  gallery  shooting 
at  a  target.  Series,  Edo  Mu  Tama  Gawo.  Signed,  Utamaro 
fude. 

Size,  14%  x  9 jig  inches.  Good  impression,  in  good  condition. 


No.  580 


583  Girl  Reading  a  Letter.  Large  head.  The  small  picture  at  the  top  of 
the  print,  of  the  Toi  no  Tama  River,  indicates  that  it  is  one  of  a 
Mu  Tamagawa  series.  Signed,  Utamaro  fude. 

Size,  14%  %  9?4  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


181 


Second  Afternoon 


584  A  Pair  of  Lovers.  A  man  and  a  woman  seated  together  on  a  bamboo 
bench.  Not  signed. 

Size,  14%  x  10  inches.  Good  impression,  in  good  condition. 


No.  583 

UTAGAWA  KUNIMASA 

Pupil  of  Toyokuni.  Personal  name  Jinsuke.  Born  1773;  died  1810. 

585  The  Sixth  Ichikawa  Danjuro.  Large  head  portrait.  Signed,  Kuni- 
masa  gwa. 

Size,  14%  x  10  inches.  Good  impression,  faded  and  deeply  browned. 


Second  Afternoon 


182 


EIGHT  SMALL  ACTOR  PORTRAITS 

From  the  book  “  Haiyu  Gaku-ya  Tsu,”  illustrated  by  Toyokuni  and  Kuni- 
masa,  with  one  design  by  Utamaro.  Published  in  1799.  Each  print  5Yi  x  4Ys 
inches.  Signed,  Kunimasa  gwa.  Good  impressions,  in  fair  condition. 

586  The  Sixth  Ichikawa  Danjuro. 

587  The  First  Ichikawa  Omezo. 

588  Sawamura  Tozo. 

589  Kirinoya  Monzo. 

590  The  Third  Bando  Mitsugoro. 

591  Nakayama  Tomisaburo. 

592  Otani  Tokuji. 

593  The  Fourth  Ichikawa  Danzo. 

594  Otani  Tomoemon. 

595  Ichikawa  Tomozo. 


KATSUSHIKA  HOKUSAI 

1760-1849 

FUGAKU  SAN-JU-ROK-KEI 

“  Thirty-six  Views  of  Fuji.”  Forty  of  the  forty-six  prints  of  this  series. 
Each  signed,  I -itsu  formerly  Hokusai.  Size,  about  10x15  inches.  All  good 
impressions,  in  fair  condition  except  as  otherwise  noted. 

596  Sanka  no  Haku-u.  The  white  cap  of  Fuji;  a  thunderstorm  below. 

A  hole  near  the  middle  of  the  print  has  been  neatly  patched.  See  il¬ 
lustration. 

597  Edo  Nihon  Bashi.  View  of  Fuji  from  Nippon  bridge,  Edo. 

598  Onmayagashi  Yori  Ryogoku  bashi.  View  of  Fuji  and  Ryogoku  bridge 

from  Onmayagashi,  Edo. 

599  Toto  Asakusa  Honguwanji.  Fuji  seen  from  Honguwanji  temple, 

Asakusa  district,  Edo. 


183 


Second  Afternoon 


No.  596 


600  Tokaido  Shinagawa  Gotenyama.  Fuji  seen  from  Goten  hill  at  Shina- 

gawa  on  the  Tokaido,  in  the  time  of  the  cherry  blossoming. 

601  Edo  Suruga-Cho  Mitsui.  Fuji  seen  from  the  Mitsui  dry-goods  shop 

in  Suruga  street,  Edo. 

602  Koishikawa  Setsu  no  Asa.  View  of  Fuji  from  Koishikawa  on  a  snowy 

morning. 

603  Honjo  Tatsukawa.  View  of  Fuji  from  a  lumber  yard  on  the  Tatsu 

River  in  the  Honjo  district. 

Slightly  soiled  along  the  line  of  a  vertical  fold. 

604  Shimo  Meguro.  View  of  Fuji  from  Shimo  Meguro,  a  suburb  of  Edo. 

605  Toto  Suruga  Dai.  Fuji  seen  from  Suruga  Dai,  Edo. 

606  Sumidagawa  Sekiya  no  Sato.  Fuji  seen  from  the  village  of  Sekiva 

on  the  Sumida  River,  its  cone  lit  up  by  the  setting  sun. 

607  Hanamachi  Senju.  View  of  Fuji  from  Senju,  looking  across  the 

Yoshiwara  of  Edo. 

608  Go-hyaku  Rakan  Sazaido.  View  of  Fuji  from  the  balcony  of  the 

shrine  of  the  Five-hundred  Rakan,  Edo. 


Second  Afternoon 


184 


No.  609 


609  Musashi  Tsukuda-jima.  Fuji  seen  from  Tsukuda  island  in  Edo  bay. 

Impression  in  tones  of  blue,  with  a  gray  shadow  over  the  water. 

See  Illustration. 

610  Tokaido  Yoshida.  Fuji  seen  from  the  Fuji-view  tea-house  at  Yoshida 

on  the  Tokaido. 

611  Tokaido  Ejiri  Tago-no-ura.  View  of  Fuji  from  the  sea  at  Tago-no-ura 

in  Ejiri. 

612  Totomi  Sanchu.  Fuji  seen  from  the  mountains  in  Totomi  where 

sawyers  are  making  planks  from  a  great  squared  log. 

613  Tokaido  Kanaya.  View  of  Fuji  from  the  ford  of  the  Oi  River  at 

Kanaya  on  the  Tokaido. 

614  Sagami  Enoshima.  View  of  Fuji  from  the  island  of  Enoshima  in 

Sagami. 

615  Sagami  Hakone  Kosui.  View  of  Fuji  from  Hakone  Lake,  province  of 

Sagami. 


185 


Second  Afternoon 


No.  616 


616  Soshu  Shichi-ri  ga  Hama.  View  of  Fuji  from  Seven-ri  Beach  in 

Soshu. 

See  illustration. 

617  Bushu  Senju.  View  of  Fuji  from  Senju  in  the  province  of  Bushu, 

where  men  are  fishing  in  a  stream  below  a  weir. 

618  Kazusa  Narumi.  View  of  Fuji  from  the  sea  off  Narumi  in  the  province 

of  Kazusa. 

619  Aoyama  Enza  Matsu.  Fuji  seen  from  the  famous  old  pine  at  Aoyama, 

which  was  trained  to  a  shape  resembling  that  of  the  mountain. 

620  Bishu  Fuji  mi  Hara.  Fuji  seen  low  on  the  horizon  through  a  great 

tub  on  which  a  cooper  is  at  work  in  the  Fuji-view  field,  province 
of  Bishu.  ' 

621  Sunshu  Katakura  Chayen.  View  of  Fuji  from  a  tea  plantation  at 

Katakura  in  Sunshu. 

622  Kai  Inume  Toge.  View  of  Fuji  from  the  Inume  pass  in  the  province  of 

Ivai  (otherwise  called  Koshu). 


Second  Afternoon 


186 


No.  G23 

623  Joshu  Ushibori.  Fuji  seen  from  Ushibori  in  Joshu,  where  a  great 

junk  is  at  anchor  close  in  to  the  shore. 

624  Todo  no  Ura.  Fuji  seen  from  Todo  no  Ura  where  two  torii  stand  in 

shallow  water  and  people  are  gathering  shell-fish. 

625  Tokaido  Hodogaya.  Fuji  seen  from  Hodogaya  on  the  Tokaido  through 

a  row  of  pines  that  line  the  road.  Impression  with  the  foreground 
printed  in  green. 

Stained  along  the  lower  edge. 

626  Soshu  Nakabaru.  Fuji  seen  from  Nakabaru  in  Soshu. 

627  Koshu  Masaka  Kosui.  View  of  Fuji  and  its  reflection  in  the  water 

of  Masaka  lake. 

628  Shunshu  Ono  Shinden.  Fuji  seen  in  early  morning  from  Ono  Shinden 

in  Shunshu.  Farmers,  and  carabao  laden  with  fagots  in  the 
foreground. 

629  Minobugawa.  Back-view  of  Fuji  from  the  Minobu  River. 


187 


Second  Afternoon 


No.  631 


630  Onden  Mizu-guruma.  View  of  Fuji  from  the  water-wheel  ot  Onden. 

631  Sen  Pu  Kai  Sei.  The  cone  of  Fuji  seen  on  a  summer  clay  in  fair  weather 

with  a  gentle  breeze. 

First  edition.  Good  impression  in  the  original  coloring,  the  mountain 
printed  in  a  low-t-oned  soft  pink  instead  of  the  hot  red  hue  of  the  late  editions. 
See  illustration. 

632  Sagami  Umesawa.  View  of  Fuji  from  Umesawa  in  Sagami. 

633  Koshu  Isawa  Akatsuki.  Fuji  seen  at  dawn  from  Isawa  in  the  province 

of  Koshu. 

634  Kanagawa  Oki  Nami  Ura.  Fuji  seen  beneath  a  great  wave  of  the 

sea  at  Kanagawa. 

See  illustration,  p.  188. 

635  The  Ascent  of  Fuji.  Pilgrims  climbing  up  the  lava  cliffs  and  others 

crowded  into  a  cave  shelter  in  the  mountain  side. 

First  edition.  In  later  editions  the  color  is  much  less  attractive.  Slightly 
soiled  along  the  line  of  a  vertical  fold. 


Second  Afternoon 


188 


No.  634 

RYURYUSAI  SHINSAI 

Pupil  of  Hokusai.  Real  name  Masayuki.  The  studio  name  Shinsai  was 
given  to  him  by  Hokusai  when  he  dropped  it  about  1800.  Chiefly  known  as 
a  designer  of  surimono  that  in  style  closely  resemble  the  works  of  his  master. 

636  Ise  Bizen-ya.  Interior  view  of  the  Bizen-ya  tea-house  and  seiro  at 

Ise,  showing  the  yujo  dancing  to  the  music  of  the  samisen  and 
kokyu,  and  a  party  of  guests  feasting.  Signed,  Toto,  Shinsai  sha 
(drawn  from  life). 

Diptych.  Size,  15 h/%  x  21  inches.  Good  impression,  in  good  condition. 
Ten  Surimono.  The  first  on  the  list,  signed  Ryuryusai  Shinsai,  the  others 
signed  Shinsai  only.  Various  sizes,  mostly  about  5  H  x  7  inches,  the  last 

two  about  8x7  inches.  All  good  impressions,  in  good  condition. 

637  On  the  Bank  of  the  Sumida.  Two  women  and  a  boy  servant  on  the 

river  bank  on  New  Year’s  Day. 

638  Sunrise  at  Enoshima.  A  man  and  two  women  greeting  the  rising  sun 

from  Seven-ri  beach  opposite  Enoshima  on  the  first  morning  of 
the  year. 

639  Calendar  for  1818.  A  nine-year-old  girl  doing  the  first  writing  in  the 

New  Year,  and  a  woman  holding  up  one  specimen  of  it.  What 


189 


Second  Afternoon 


look  like  pine-needles  on  the  skirt  of  the  woman  are  the  numerals 
of  the  dai  and  sho  months  of  Bunkwa  15. 

640  Negi  no  Asa-yuki.  Literally  “young  onions  and  morning  snow.” 

Actually  the  “morning  snow”  is  the  plumage  on  the  breast  of  a 
duck  that  lies  upon  two  young  onions  ready  to  be  cooked  and  served 
as  kamo-nabi  and  flavored  with  the  myoga  (ginger)  that  is  placed 
upon  the  floor  beside  it. 

Illustrated  on  Plate  CXI  I  of  the  V.-I.  Eishi-Choki- Hokusai  Catalogue. 

641  Clothing.  Number  one  of  the  four  necessities  of  life.  Two  women 

measuring  off  a  kimono  length  from  a  bolt  of  Arimatsu  shibori, 
and  a  young  girl  looking  on.  Through  an  open  window  is  a  view 
of  Mt.  Fuji. 

642  Ishidoro  ni  Tsuki.  A  young  boy  standing  by  his  mother’s  side  on 

New  Year’s  Day  points  out  the  resemblance  between  the  shape  of 
the  new  moon  and  the  light -opening  in  a  stone  lantern. 

643  An  Oiran.  A  tall  woman  dressed  for  the  New  Year  holidays  standing, 

looking  down. 

644  Surimono  for  the  Ox  Year  1817.  An  oiran  and  her  kamuro  seated  by 

a  hibachi  and  looking  down  at  a  figure  of  a  curled-up  carabao  ox 
modeled  in  mochi  (rice-cake)  for  the  New  Year. 

645  Uta-garuta  no  Ya-u.  “The  Night-rain  of  the  Playing  Cards.”  An  oil 

lamp  on  a  lacquer  box,  and  on  the  floor  beside  the  box  poem  cards 
for  the  game  of  Uta-garuta  are  stacked  up  or  scattered  over  a  copy 
of  the  “Hyakunin  Isshu.”  Series,  Shi-o-ken  Hakkei. 

646  Ryugu  Boku  Shi.  “The  Legend  of  the  Dragon  Palace.”  View  of  the 

great  barge  of  the  Dragon  King  of  the  Sea.  Surimono  for  the  dragon 
year,  1820. 

MOSAI  HOKUTAI 

Pupil  of  Hokusai.  Besides  Ifokutai  he  also  used  the  studio  names  Raito 
and  Eisai. 

647  A  Lantern  Bearer.  A  man  servant  attached  to  a  Yoshiwara  seiro 

standing  beside  a  large  lantern  bearing  the  mon  of  the  house. 

Signed,  M5sai  Hokutai  gwa. 

Size,  5]A  %  I  inches.  Good  impression,  in  fair  condition. 


Second  Afternoon 


190 


EDOGAWA  HOKUTEN 

648  Honcho  Furisode  no  Hajime.  “ The  Origin  of  the  Long  Sleeve.”  An 
amusing  caricature  in  which  many  strange  goblins  are  introduced. 
Signed,  Edogawa  Hokuten  gwa. 

Size,  10y8  x  14  Vs  inches.  Good  impression,  in  good  condition. 


No.  649 

UTAGAWA  TOYOHIRO 

Pupil  of  Toyoharu.  Personal  name  Okajima  Tojiro.  Born  1768;  died 
1828. 

649  A  Hawk  and  its  Prey.  The  hawk  is  chasing  a  goose  that  is  falling 
to  the  ground  in  an  attempt  to  escape  after  having  been  struck 


191 


Second  Afternoon 


by  its  enemy.  Printed  in  gray  and  black.  Signed,  Toyohiro 
gwa. 

Size,  85/s  x  6%  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

650  Fording  the  River.  Three  women  with  bare  feet,  and  their  skirts 

tucked  up,  fording  a  shallow  stream.  Apparently  the  right-hand 
sheet  of  a  composition  in  several  small  sheets.  Signed,  Toyohiro 
gwa. 

Size,  6f$  x  4Vs  inches.  Good  impression,  in  good  condition. 

651  Chofu  no  Tamagawa.  A  nobleman  standing  on  the  bank  of  the  Tama 

River  in  Musashi.  Above  a  white  cloud  a  further  reach  of  the  stream 
is  seen  and  women  upon  its  bank  washing  white  cloth.  Signed, 
Toyohiro  gwa. 

Size,  14%  x  9%  inches.  Good  impression,  in  good  condition. 

652  Preparations  for  the  Hina  Matsuri.  Middle  sheet  of  a  triptych, 

showing  a  woman  seated,  holding  a  doll  representing  a  dancing 
girl,  another  woman  mixing  rice  paste  to  attach  it  to  a  black 
lacquer  stand;  and  a  third  woman  standing  and  pointing  to  the 
doll.  Signed,  Toyohiro  gwa. 

Size,  15  x  9%  inches.  Ordinary  impression,  in  fair  condition. 

A 

EDO  HAKKEI 

“Eight  Edo  Views.”  Complete  set.  Each  print  signed,  Toyohiro  gwa. 
Size,  about  9}^  x  I4V2  inches. 

653  Nihon  Bashi  no  Seiran.  “The  Evening  Glow  at  Nippon  Bridge.” 

Fine  impression,  in  fair  condition. 

654  Tsukuda-jima  no  Kiban.  “Returning  Sails  at  Tsukuda  Island.” 

Good  impression,  in  good  condition. 

655  Mimeguri  no  Bosetsu.  “Evening  Snow  at  Mimeguri.” 

Fine  impression,  in  good  condition. 

656  Yoshiwara  no  Rakugan.  “Geese  Flying  Down  at  the  Yoshiwara.” 

Good  impression.  In  good  condition  except  that  it  has  been  trimmed 
an  inch  at  the  right. 


Second  Afternoon 


192 


657  Atago  Aki  no  Tsuki.  “The  Autumn  Moon  at  Atago  Hill.” 

Good  impression,  in  fair  condition. 

658  Ueno  no  Bansho.  “The  Vesper  Bell  at  Ueno,”  that  is,  at  Tbeizan 

temple. 

Good  impression,  in  fair  condition . 

659  Ryogoku  no  Sekisho.  “Ryogoku  in  Clear  Weather  after  a  Storm.” 

Good  impression,  in  fair  condition. 

660  Matsuchiyama  no  Ya-u.  “Night  Rain  at  Matsuchi  Hill.” 

Good  impression,  in  fine  condition. 


661  A  Kite-flying  Party.  Women  and  children  standing  amid  blossoming 

plum  trees  on  the  hillocks  surrounding  the  archery  practice  grounds 
where  men  are  flying  a  large  kite  decorated  with  a  picture  of  a 
shojo  standing  by  an  enormous  jar  of  sake.  Signed,  Toyohiro  gwa. 

Triptych.  Size,  l-AVs  %  99  inches.  Good  impression,  colors  softly 
faded. 

UTAGAWA  HIROSHIGE 

1797-1858 

662  Twilight  Moon  at  Ryogoku  Bridge.  A  much  admired  print.  Series, 

Toto  Meisho,  the  earliest  set  so  named.  Signed,  Ichiryusai  Hiro¬ 
shige  gwa. 

Size,  8fi  x  18'A  inches.  Fine  impression,  in  poor  condition. 

663  Takanawa  no  Meigetsu.  “Full  Moon  at  Takanawa.”  A  flock  of  wild 

geese  flying  down.  Same  series  and  signature  as  the  preceding  lot. 

Full  size,  margins  entire.  Not  first  edition,  but  a  very  fine  impression 
in  perfect  condition. 

TOKAIDO  GO-JU-SAN  TSUGI  NO  UCHI 

“The  Fifty-three  Post  Stations  of  the  Tokaido,”  known  as  the  First  Tokaido 
series.  Eleven  of  the  fifty-three  prints  of  the  series,  and  one  duplicate.  Each 
signed,  Hiroshige  gwa.  Size,  about  9  x  14  inches. 

664  Mariko,  Meibutsu  Cha-ya.  The  famous  products  tea-house  at  Mariko. 

Fine  impression,  in  very  fine  condition. 


193 


Second  Afternoon 


665  Mishima  Asa  Kiri.  A  foggy  morning.  Travellers  on  horseback  and 

in  a  kago. 

Fair  impression,  rather  darkly  printed.  In  fine  condition. 

666  Kambara,  Yoru  no  Yuki.  A  snowy  evening  at  Kambara.  Impression 

with  the  sky  pale  gray. 

Fine  impression.  Trimmed  about  a  quarter  inch  at  the  right  and  left 
ends  and  at  the  bottom.  In  very  fine  condition  otherwise. 

667  Kawasaki,  Rokugo  Tosen.  The  ferry  over  the  Rokugo  River  at  Kawa¬ 

saki.  The  first  design. 

Very  fine  early  impression,  in  fine  condition  save  that  it  is  trimmed 
about  a  sixteenth  of  an  inch  on  all  four  sides. 

668  Fujieda,  Hito  Uma  Keitatsu.  Changing  horses  and  porters  at  the 

station. 

Fine  impression,  in  good  condition. 


No.  669 


669  Yokkaichi,  Sancho-kawa.  A  windy  day  at  Yokkaichi. 

Good  impression,  in  fine  condition.  See  illustration. 

670  Fukuroi  De  Cha-ya.  Wayside  tea-booth  at  Fukuroi. 

Fine  impression,  in  fine  condition. 


Second  Afternoon 


194 


671  Arai  Tosen.  Ferry  boats  at  Arai,  one  of  them  conveying  a  daimyo 

across  the  bay. 

Fair  impression ,  in  fine  condition. 

672  Miya,  Atsuta  Shin  Ji.  A  fete  at  the  Atsuta  shrine,  Miya. 

Fine  impression ,  in  fine  condition. 

673  Miya.  Another  impression,  colors  not  faded. 

In  fine  condition. 

674  Hammamatsu,  Toko.  Dreary  weather  at  Hammamatsu.  Travellers 

and  farmers  warming  themselves  at  a  fire  near  a  great  cryptomeria 
tree. 

Fine  impression,  in  fine  condition. 

675  Shono,  Haku-u.  A  shower  at  Shono.  Late  impression,  without  the 

publisher’s  name  on  the  umbrella  carried  by  one  of  the  travellers 
In  good  condition. 


MARU-SEI  TOKAIDO 

Three  prints  of  the  Tokaido  set  published  by  Maru-Sei  about  18 — 1845. 
Each  signed ,  Hiroshige.  Size,  about  8%  x  13 Yi  inches.  All  very  fine  im¬ 
pressions,  in  fine  condition. 

676  Hakone.  Travellers  crossing  the  pass  at  night. 

677  Nissaka.  The  so-called  “night-crying  stone”  by  the  road  in  the  fore¬ 

ground. 

678  Shono.  Farmers  warming  themselves  at  a  fire  built  on  the  road  near 

the  village. 

TOTO  MEISHO 

“ Famous  Places  in  the  Eastern  Capital.”  Six  prints  of  the  series  pub¬ 
lished  by  Sano-ya  Kihei.  Each  signed,  Hiroshige  gwa. 

Size,  about  9  x  13}/2  inches,  not  including  margins. 

679  Yoshiwara  Naka  no  Cho  Yo  Zakura.  “Cherry  trees  in  bloom  at  night 

in  the  middle  street  of  the  Yoshiwara.”  Moonlight  view. 

Superb  impression,  in  fine  condition. 


195 


Second  Afternoon 


680  Nicho-machi  Shibai  no  Zu.  The  Nakamura  theater  in  Second  Street 

showing  the  crowd  gathered  for  the  kaomise  performance  at  the 

opening  of  the  New  Year  season. 

Good  impression,  in  fair  condition;  slightly  soiled  along  the  line  of  a 
vertical  fold. 


No.  681 


681  Kameido  Tenmangu  Keidai  no  Yuki.  “The  Grounds  of  the  Tenmangu 

Shrine  at  Kameido  in  Falling  Snow.”  This  much  admired  print  was 
so  popular  that  many  editions  of  it  were  printed.  Between  the 
early  and  the  late  impressions  the  difference  is  very  great.  The 
early  ones  are  much  the  finer,  but  are  extremely  rare. 

Fine  early  impression,  in  fine  condition.  See  illustration. 

682  Shiba  Atago-san  Jo  no  Zu.  “The  Best  View  from  Atago  Hill, Shiba,” 

a  rainbow  spanning  the  sky. 

Fine  impression.  Trimmed  to  8%  x  13  inches,  margins  and  title 
cut  off. 

683  Asakusa  Kinryuzan  Toshi  no  Ichi.  “The  Annual  Fair  before  the 

New  Year  Holidays,  at  Kinryusan  Temple,  Asakusa  District.” 

Fine  impression,  in  good  condition  except  that  it  has  been  trimmed  to 
7 fix  12%  inches. 


Second  Afternoon 


196 


684  Nihon  Bashi  no  Shirasame.  “White  Rain  at  Nippon  Bridge.” 

Fine  impression.  Trimmed  to  SlfixlSIA  inches.  Otherwise  in  fine 
condition. 

685  Ryogoku  Bashi  Noryo.  “Enjoying  the  Cooling  Breeze  at  Ryogoku 

Bridge.”  Series,  Koto  Meisho,  published  by  Sano-Ki. 

Size,  8%  x  13}/ 2  inches.  Good,  though  late  impression,  in  good  condition. 
The  title  label  has  been  taken  from  the  margin  ( which  has  been  trimmed  off), 
and  pasted  on  the  face  of  the  print  in  the  upper  corner  at  the  left,  materially 
injuring  the  composition.  It  can,  however,  readily  be  removed  by  dampening 
it. 

686  Ryogoku  Hanabi.  “Fireworks  at  Ryogoku  Bridge.”  Series,  Edo 

Meisho,  published  by  Izuini-ya  Ichibei.  Signed,  Hiroshige  gwa. 

Size,  8%  x  13 Y2  inches.  Good,  though  late  impression,  in  good  con¬ 
dition.  Margins  trimmed  close. 

687  Nihon  Bashi  Edo  Bashi.  “Nippon  Bridge  seen  from  Edo  Bridge.” 

Series,  Edo  Meisho,  the  “figure  set”  published  by  Yamada-ya 
Shobei.  Signed,  Hiroshige  gwa.  Dated. 

Size,  8%  x  13%  inches.  Superb  impression,  in  fine  condition. 

688  Ocha  no  Mizu.  ‘The  Tea-water  Canal.”  Winter  view.  Same  series, 

signature,  and  date  as  the  preceding  lot. 

Size,  9  x  13%  inches.  Fine  impression,  in  fine  condition. 

689  Shin  Yoshiwara  Haru  Akibono  Zu.  “View  of  the  New  Yoshiwara 

at  Dawn  in  Spring.”  Series,  Edo  Meisho  no  Uchi.  Signed,  Hiro¬ 
shige  gwa. 

Size,  9  x  13%  inches.  Ordinary  impression,  in  good  condition. 

MU  TAMAGAWA 

“The  Six  Tama  Rivers.”  Four  prints  of  the  so-called  “ upright  series,” 
published  by  Maru-ya  Kyushiro.  Each  signed,  Hiroshige  gwa.  Size,  13l/i  x  87/g 
inches,  margins  not  included.  All  fine  impressions  in  fine  condition. 

690  Musashi  Tazukuri.  “The  Tazukuri  (commonly  mispronounced 

Chofu)  Tama  River  in  Musashi.” 

691  Michinoku  Noda.  “The  Noda  Tama  River  in  Michinoku.” 

692  Omi  Noji.  “The  Noji  Tama  River  in  Omi.” 

693  Kii  Koya.  “The  Koya  Tama  River  in  Kii.” 


197 


Second  Afternoon 


No.  694 


No.  695 


KWACHO 

“Floiver  and  bird  pictures.”  This  is  the  literal  signification  of  the  term, 
but  it  is  a  general  category  that  includes  other  related  subjects.  Hiroshige’s 
fame  will  ultimately  rest  quite  as  much  upon  his  compositions  in  this  field  as 
upon  his  work  as  a  landscape  artist.  Fourteen  prints,  each  signed  Hiroshige, 
except  as  otherwise  specified. 

694  Shion  ni  Tsuru.  Asters  and  crane.  Signed,  Hiroshige  fude. 

Size,  13%  x  4%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

695  Tsutsuji  ni  Onagadori.  Azalea  and  blue  magpie. 

Size,  14%  x  4%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


Second  Afternoon 


198 


696  Fuyo.  Yellow  hibiscus.  Signed,  Ichiryusai. 

Size,  5%  x  IAA  inches.  Fine  impression,  in  fine  condition. 

697  Two  small  prints,  (a)  Kingfisher  and  rushes,  (b)  A  bunch  of  loquats, 

on  a  blue  ground.  The  first  one  signed  Hiroshige;  the  other  signed 
Tokai. 

Fine  impressions,  in  fine  condition. 

698  Mangetsu  ni  Gan.  Wild  geese  flying  down  across  the  disc  of  the  full 

moon. 

Size,  13  A  x  4  A  inches.  Late  impression,  in  fair  condition. 

699  Hanashobu  ni  Shira  Sagi.  Iris  flowers  and  snowy  heron. 

Size,  14A  x  6*^8  inches.  Late  impression,  trimmed  a  half  inch  at  the 
head. 

700  Fuyo  ni  Kanari.  Hibiscus  mutabilis  and  canary. 

Size,  13  x  4A  inches.  Late  impression,  in  fair  condition. 

701  Fuyo  ni  Suzume.  Hibiscus  and  sparrow. 

Size,  12  A  x  inches.  Late  impression,  fair  condition. 

702  Matsu  ni  Hototogisu  ni  Tsuki.  Pine  branch,  cuckoo,  and  moon. 

Size,  ISfi  x  4?  8  inches.  Late  impression,  toned. 

703  Matsu  ni  Tsuta  ni  Taka.  A  falcon  perched  upon  an  ivy-draped  pine 

branch. 

Size,  13lfi  x  4lA  inches.  Late  impression,  in  good  condition. 

704  Matsu  ni  Taka  ni  Hi-no-me.  A  falcon,  pine  tree,  and  sun. 

Size,  141-  &  x  6%  inches.  Late  impression,  not  in  very  good  condition. 
The  sun  printed  a  deep  red. 

705  Sawarabi  ni  Kiji.  Common  brakes  and  pheasant. 

Size,  14A  x  4  A  inches.  Fine  impression,  in  fine  condition. 

706  Hibiscus  and  Unidentified  Bird.  The  bird  has  yell ow-and- white 

plumage  with  black  markings,  a  black  head  with  a  long  white 
crest,  and  a  long  beak. 

Size,  14  A  x  41' 8  inches.  Fine  impression,  in  good  condition. 


199 


Second  Afternoon 


UTAGAWA  KUNIYOSHI 

1797-1861 

HYAKUNIN  ISSHU  NO  UCHI 

“An  Inside  View  of  the  One  Hundred  Poems.”  Popularized  illustrations  of 
the  famous  classic  collection  of  odes  by  one  hundred  poets.  Twenty  prints  of  the 
series.  Each  signed,  Ichiyusai  Kuniyoshi  gwa.  Size,  1J±1A  x  9%  inches. 
Good  impressions,  in  fine  condition.  The  English  version  of  the  odes  here 
given  is  by  F .  V.  Dickens. 

707  Farmers  Harvesting  Rice.  Ode  by  Tenchi  Tenno.  No.  1  of  the  series. 

My  lowly  hut  is  thatched  with  straw 

From  fields  where  rice-sheaves  frequent  stand, 

Now  autumn’s  harvest  well-nigh  o’er, 

Collected  by  my  toiling  hand: 

Through  tatter’d  roof  the  sky  I  view, 

My  clothes  are  wet  with  falling  dew. 

708  The  Cry  of  the  Stag.  Ode  by  Sarumaru  Dayu.  No.  5. 

Now  ’mid  hills  the  momiji 

Is  trampled  down  ’neath  hoof  of  deer, 

Whose  plaintive  cries  continually 
Are  heard  both  far  and  near; 

My  shivering  frame 

Now  autumn’s  piercing  chills  doth  blame. 

709  The  Poet’s  Cabin  in  Tatsumi.  Ode  by  Risen  H5shi.  No.  8. 

My  cabin  doth  in  Tats’mi  lie 
Miyako’s  city  near, 

Yo-uji  men  my  mountain  call 
Yet  still  do  I  dwell  here. 

710  The  Cascades  of  the  Minagawa.  Ode  by  Yosei  In.  No.  13. 

The  Minagawa’s  waters  fall 

From  Ts’kubane-yama’s  lofty  peak: 

In  loving  haste  the  waters  all 
For  aye  accumulate,  and  seek 
The  end  of  all  their  constant  flow, 

The  sea  that  doth  no  limits  know. 


Second  Afternoon 


200 


This  ode  was  addressed  by  the  poet,  the  Emperor  Yosei  (who 
reigned  from  877  to  884)  to  the  Princess  Tsuridono  no  Miko,  to 
indicate  that  his  love  for  her,  increasing  day  by  day,  had  become 
immeasurable  in  extent.  Kuniyoshi’s  illustration  entirely  ignores 
this  content  and  shows  a  farmer  pointing  to  the  waterfall  and 
cracking  a  joke  with  a  passing  traveller. 

711  The  Crimson  Flood.  Ode  by  Ariwara  no  Narihira  Ason.  No.  17. 

O  Tats’ta!  When  th’  autumnal  flow 
I  watch  of  thy  deep,  ruddy  wave — 

E’en  when  the  stern  gods  long  ago 
Did  rule,  was  ne’er  beheld  so  brave, 

So  fair  a  stream  as  thine,  I  vow. 

A  noble  and  two  retainers  on  the  bank  of  the  Tatsuta  River 
watching  the  autumn  leaves  floating  down  the  stream. 

712  An  Autumn  Gale.  Ode  by  Bunya  no  Yasuhide.  No.  22. 

Now  autumn’s  gales,  in  various  freak, 

On  herb,  on  tree,  destruction  wreak, 

And  wildest  roar 

The  gusts  that  down  from  Mube  pour. 

An  umbrella-maker  trying  to  save  his  stock  from  being  blown 
away  in  an  autumn  gale. 

713  The  Ring  Around  the  Moon.  Ode  by  Oe  no  Chisato.  No.  23. 

IIow  oft’  my  glance  upon  the  moon  hath  dwelt, 

Her  secret  power  my  soul  subdued — 

Her  sadd’ning  influence  I  alone  have  felt, 

Though  all  men  autumn’s  moon  have  viewed. 

Along  a  road  where  two  puppies  lie  asleep  beneath  a  tall  tree, 
two  porters  bear  an  empty  kago,  and  one  of  them  turns  to  look  up 
at  the  moon  which  has  a  large  ring  around  it. 

714  Struggling  Against  Wind  and  Rain.  Ode  by  Fujiwara  no  Okikaze. 

No.  34. 

Of  old  companions  bereft, 

Men’s  friendship  more  I  may  not  seek, 

Naught  but  the  ancient  pine-trees  left, 

That  grow  on  Takasago’s  peak, 

Comrades  of  many  a  year  now  gone, 

But  not  the  friends  for  whom  I  mourn. 


201 


Second  Afternoon 


An  old  man  in  a  yellow  cloak  and  a  straw  hat  beating  his  way  to 
windward  along  the  sands  by  the  sea  on  a  stormy  evening,  the 
lantern  he  carries  casting  a  glow  upon  the  ground  about  his  feet. 

Not  as  good  an  impression  as  most  of  the  others  of  the  series  here  listed, 
the  sky  and  the  sand  riot  being  printed  dark  enough  to  give  a  night  effect, 
and  a  spot  just  above  the  horizon  having  missed  the  color  entirely. 

715  Viewing  the  Sea  from  Mt.  Suyematsu.  Ode  by  Kyowara  no  Motosuke. 

No.  42. 

When  last  each  other  we  embraced, 

A  solemn  vow  of  faith  we  swore, 

And  sealed  it  with  the  tears  that  chased 

Adown  our  cheeks  our  drench’d  sleeves  o’er — 

That  we  our  oath  would  fail  to  keep 
When  th’  waves  o’erleapt  S’ye’s  pine-crowned  steep. 

To  keep  a  vow  while  the  waves  do  not  overleap  Mt.  Suyematsu 
is  to  keep  the  vow  forever.  This  is  a  proverbial  saying  in  Michinoku. 

716  Bewailing  Love’s  Smart.  Ode  by  Chunagon  Atsutada.  No.  43. 

I  went  to  meet  thee,  dearest  maid, 

And  when  I  parted  loth  from  thee, 

Upon  my  soul  such  mis’ry  weighed, 

I  mourned  the  love  that  burdened  me; 

O  that  my  heart 

Were  still  unvexed  by  lover’s  smart! 

A  kuge  boy  showing  an  impatient  noble  lover  the  way  to  the 
apartment  when  his  mistress  awaits  his  coming. 

717  A  Fisherman  Watching  his  Nets.  Ode  by  Gon-chunagon  Tadayori. 

No.  64. 

By  th’  dim  grey  light  of  early  dawn 
I  stray’d  by  Uji’s  wave, 

From  whence  the  rifting  mist  upborne 
Me  scattered  glimpses  gave 
Of  Zeze’s  stakes  there  set 
Whereon  the  fisher  spreads  his  net. 

718  A  Heavy  Downpour.  Ode  by  No-in  Hoshi.  No.  69. 

Round  Mimuro-yama  lustily 

The  storm-winds  roar  and  whirl, 

And  th’  scatter’d  leaves  of  th’  momiji 
In  the  reddening  Tats’ta  hurl. 


Second  Afternoon 


202 


719  Evening  in  Autumn.  Ode  by  Ryozen  Hoshi.  No.  70. 

In  lonely  solitude  my  home, 

And  from  my  cabin  when  I  stray. 

Where’er  my  wand’ring  eyes  may  roam, 

The  landscape  that  doth  round  me  lay, 

How  desolate,  how  drear 
Doth  it  at  autumn-e’en  appear. 

720  The  Spectre  of  the  Wind-demon.  Ode  by  Dai-nagon  Tsunenobu. 

No.  71. 

Now  twilight  darkens,  and  the  breeze 
Rustles  the  homeside  rice-fields  ’mong, 

And  murmuring  sounds  my  ear  please, 

As  past  my  hut  with  thatch  o’erhung 
Of  Ashi  grass, 

The  sweeping  gusts  of  autumn  pass. 

721  The  Tumbling  Waters.  Ode  by  Shutoku  no  In.  No.  77. 

The  brawling  stream  against  the  rock 
Its  tumbling  waters  fiercely  hurls, 

Divided  by  the  furious  shock, 

In  double  torrent  onward  whirls: 

In  further  flow 

I  trow  a  single  stream  ’twill  show. 

This  is  an  address  to  the  poet’s  mistress,  and  expresses  the  hope 
that  they  may  yet  be  united  when  obstacles  to  their  union  are 
overcome.  Kuniyoshi  shows  the  ghost  of  Susano-o  Mikoto 
standing  upon  a  rock  amid  breakers. 

722  Sea-birds  at  Suma  Beach.  Ode  by  Minamoto  no  Kanemasa.  No.  78. 

’Tween  Awaji  and  Suma  fly 

The  screaming  sea-birds  to  and  fro 
Night  after  night;  their  ceaseless  cry 
Doth  scarce  a  moment’s  sleep  allow , 

To  whom  his  fate 
Allots  the  wfard  of  Suma’s  gate. 

The  poet  is  showm  seated  in  his  dwelling,  turning  to  look  out  at 
the  blue  water  of  Osaka  bay. 


203 


Second  Afternoon 


723  Autumn’s  Chilly  Blast.  Ode  by  Sakyo  no  Tayu  Akisuke.  No.  79. 

When  bloweth  autumn’s  chilly  blast, 

Through  rifts  at  times  the  moonbeams  peep, 

From  ’mid  the  dark  clouds  drifting  past, 

And  earth  in  pallid  radiance  steep, 

I  love  to  see 

The  bright-edged  shadows  o’er  the  lea. 

The  noble  poet  is  shown  standing  on  a  veranda,  his  garments 
fluttering  in  the  wind  that  bends  over  the  tall  autumn  grass  on 
the  ground  below. 

724  His  Love-sick  Soul.  Ode  by  Saigyo  Hoshi.  No.  86. 

With  deeper  melancholy  sways 

The  moonlit  night  my  love-sick  soul; 

See  how  my  face  my  woe  betrays, 

How  down  my  cheek  the  tears  roll. 

Kuniyoshi  illustrates  and  makes  fun  of  this  by  a  picture  of  a 
mendicant  priest  standing  beneath  a  willow  tree  and  showing  a 
figure  of  a  yellow  cat  to  a  bevy  of  children. 

725  Drawers  of  Sea-water.  Ode  by  Infumon-In  no  Tayu. 

I  would  that  I  might  show  to  thee 

The  island-fisher’s  oft-drenched  sleeve, 

I  would  that  thine  own  eyes  might  see 

How  the  salt  waves  their  tints  ne’er  thieve; 

From  mine,  alas! 

Aye,  tear-bedewed  the  colors  pass. 

This  ode  is  illustrated  by  a  picture  of  two  women  shiokumi 
carrying  buckets  of  sea-water  to  evaporating  tubs  on  the  shore  of 
a  bay;  Mt.  Fuji  in  the  distance. 

726  Impatient  Waiting.  Ode  by  Gon-chunagon  Sadaiye.  No.  97. 

On  Mats’ho’s  shore,  our  meeting  place 
At  dusky  horn  of  night,  I  wait 
My  longed-for  mistress  to  embrace ; 

Ah,  why  then  linger’st  thou  so  late! 

My  ardent  passion,  than  the  fire 
That  heats  the  salt  pans,  rages  higher. 

To  illustrate  this  ode  Kuniyoshi  depicts  a  nobleman  holding  a 
white  kitten  that  impatiently  awaits  the  cutting  up  of  a  fish  that 
a  girl  is  getting  ready  for  its  supper! 


Second  Afternoon 


204 


EIGHT  SURIMONO  BY  VARIOUS  ARTISTS 

727  Sukoku.  A  Temmoku  tea-bowl  and  box. 

728  Unknown.  A  black  lacquer  cabinet,  a  rolled-up  red  rug,  and  two 

koma-inu,  i.e.,  porcelain  boxes  supposed  to  represent  a  male  and 
a  female  Korean  dog,  but  actually  having  heads  like  those  of 
human  beings. 

729  Unknown.  A  miko  (girl  attendant  at  a  Shinto  shrine)  as  Amaterasu 

greeting  the  sun.  At  her  feet  a  white  cock  also  greets  the  sun  by 
crowing  lustily. 

730  Reisai.  Two  women  looking  at  a  monkey  that  has  ensconced  himself 

in  a  stone  lantern.  Surimono  for  a  monkey  year,  probably  1824. 
Signed,  Reisai;  seal,  Yanagawa.  One  of  the  three  odes  printed 
upon  it  is  signed  Kyokado,  the  literary  name  of  Hiroshige. 

731  Kosetsu.  The  oimatsu  No  dance.  Signed,  Kosetsu. 

732  Shuntei.  A  court  lady  Benten  standing  looking  down  at  a  young  girl 

who  holds  a  fancy  cake  in  her  hand  and  is  watching  two  white 
rats  in  a  small  cage.  Series:  Shichi  Fuku-jin,  i.e.,  “The  Seven 
Fortune-Gods.”  Signed,  Shokyutoku  Shuntei  gwa. 

733  Shuntei.  Ono  no  Ivomachi  looking  at  her  reflection  in  a  large  mirror 

that  is  held  by  another  lady  who  is  seated.  Signed,  Shokyutoku 
Shuntei  gwa. 

734  Hokuba.  A  woman  seated  drinking  sake  from  a  huge  cup  into  which 

two  maids  are  pouring  the  wine  from  iron  sake  kettles  in  which 
it  has  been  warmed.  Signed,  Hokuba  gwa. 

UTAGAWA  YOSHITOSHI 

Pupil  of  Kuniyoshi.  Personal  name  Tsukioka  Yonejird.  Besides  the 
studio  name  Yoshitoshi,  he  also  used  Taiso,  Ichikaisai,  and  Gyokuworo.  Born 
1849;  died  July  1902. 

735  Nichiren  and  the  Ghost  of  the  Cormorant.  This  illustrates  the  legend 

that  the  famous  Buddhist  monk,  the  founder  of  the  Hokke  Shu, 


205 


Second  Afternoon 


saw  the  ghost  of  a  cormorant  when  he  was  on  the  bank  of  the 
Isshiwa  River,  and  stopped  to  pray  for  it.  Signed,  Yoshitoshi. 
Dated  Meiji  18,  fifth  month,  i.e.,  June  1885. 

UTAGAWA  TOYOSHIGE 

Pupil  and  adopted  son  of  Toyokuni.  Personal  name  Genzo.  Used  the 
studio  names  Toyoshige,  Ichiryusai,  IcMeisai,  and  Kosotei.  After  the  death 
of  Toyokuni  in  1825,  he  claimed  to  be  his  successor,  signed  Toyokuni,  and 
Kosotei  Toyokuni,  and  was  commonly  known  as  Hongo  Toyokuni  from  the 
district  of  Edo  in  which  he  lived.  His  adoption  of  the  Toyokuni  name  was  not 
sanctioned  by  the  other  pupils  of  the  master,  and,  as  they  did  not  consider  him 
worthy  of  the  honor  of  bearing  it,  they  never  approved  its  use  by  him,  and  some 
years  later  it  was  bestowed  upon  Kunisada  who  signed  as  Toyokuni  II.  Toyo¬ 
shige  was  born  in  1777  and  died  in  1885. 

736  Matsu  ni  Taka.  A  falcon  perched  on  a  pine  tree.  Signed,  Kosotei 

Toyokuni  fude. 

Size,  28  x  9%  inches.  Good  impression,  in  good  condition  though 
somewhat  toned. 

737  Two  Popular  Actors.  The  fifth  Matsumoto  Koshiro  and  the  fifth 

Iwai  Hanshiro  as  a  man  and  a  woman  walking  together  under  a 
large  umbrella.  Signed,  Toyokuni  gwa. 

KAWANABE  KYOSAI 

Pupil  for  a  time,  when  a  boy,  of  Kuniyoshi,  but  received  most  of  his  training 
from  Kano  Tohaku.  Worked  in  a  style  of  his  own.  Did  not  design  many 
prints.  W as  notorious  for  his  intemperate  habits  and  it  is  said  of  him  that  he 
could  not  paint  when  he  was  sober.  The  signature  to  the  print  here  listed  is  an 
acknowledgment  that  he  recognized  himself  as  a  drunkard.  Born  1831;  died 
1889. 

738  Moko  Zokusen  Taiji  no  Zu.  “The  Attack  on  the  Ships  of  the  Mon¬ 

golian  Enemy.”  Signed,  Shojo  (drunkard)  Kyosai. 

Triptych.  Size,  13%x28lA  inches.  Good  impression,  in  good  con¬ 
dition. 


Second  Afternoon 


206 


UNKNOWN 

739  Shitenno  Tsuchigomo  Taiji.  The  four  strong  men,  i.e.,  Yorimitsu  and 

his  chief  henchmen,  killing  the  Tsuchigomo  or  demon  spider.  Not 
signed. 

Size,  8 %  x  12  inches.  Ordinary  impression,  in  good  condition. 

REPRODUCTIONS  OF  PAINTINGS 

740  Nankeisha  Sojin.  A  crow  on  the  stump  of  an  old  tree. 

Size,  7x9  inches.  Good  impression,  in  good  condition. 

741  Sesshu.  Bodhidharma  crossing  a  river  standing  on  a  reed. 

Size,  18 %  x  AA  inches.  Good  impression,  in  good  condition. 

742  Royaku-sha.  A  tiger  in  a  bamboo  grove  in  a  rain  storm. 

Size,  8%  x  6l/i  inches.  Good  impression,  in  good  condition. 

BUNSEI 

743  Dragon-flies.  From  a  sheet  of  Harimaze.  Signed,  Bunsei.  Date 

about  1843. 

Size,  6%  x  A/s  inches.  Poor  impression. 

744  A  Crab.  Another  picture  from  a  sheet  of  Harimaze.  Signed,  Bunsei. 

Size,  6  fi  x  A/ 8  inches.  Good  impression,  good  condition. 

TAITO 

745  Butterflies  and  Pink  Clouds.  Signed  with  two  illegible  seals  only. 

The  attribution  to  Taito  is  tentative. 

Size,  7  A  x  5  inches.  Fair  impression,  in  fair  condition. 

CHIKUKOKU  AND  FUMINOBU 

746  A  Bat  by  Chikukoku,  and  A  Stag  by  Fuminobu.  The  figures  on  a  blue 

ground.  Each  signed  by  the  artist  who  painted  it. 

Size,  6%  x  9  inches.  Ordinary  impression,  in  good  condition. 


207 


Second  Afternoon 


KEIRI 

Pupil  of  Keisai  Eisen.  Worked  chiefly  as  a  book  illustrator. 

747  Hibiscus  and  Dragon-fly.  Blue  ground.  Signed,  Keiri. 

Size,  6%  x  9%  inches.  Late  impression,  in  good  condition. 

748  Umadai  ni  Karei  ni  Wasabi.  Chinese  broadfish,  sole  and  horse¬ 

radish.  Signed  with  seals  only. 

Size,  6%  x  9Ys  inches.  Good  impression,  in  good  condition. 

SUGAKUDO 

Worked  in  the  middle  of  the  nineteenth  century.  Known  chiefly  by  the 
series  to  which  the  print  here  listed  belongs. 

749  Shira  Taka.  A  white  hawk  on  a  pine  branch.  Series:  Iki-utsushi 

Shi-ju-hachi  Taka,  i.e.,  “Forty-eight  Hawks  Drawn  from  Life.” 
Published  in  1859.  Signed,  Sugakudo. 

Size,  12]/%  x  8fi  inches.  Ordinary  impression,  in  poor  condition. 

SEKIJO 

Pupil  of  Toriyama  Sekiyen.  He  designed  only  a  few  prints  and  is  better 
known  as  a  writer  than  as  an  artist. 

750  Shira  Taka  ni  Matsu.  White  hawk  and  pine  tree.  Signed  at  the  left, 

but  only  one  of  the  characters  and  a  part  of  another  remain. 

Size,  13%  x  9  inches.  Fine  impression,  in  very  fine  condition. 

From  the  Vicomte  de  Sartiges  collection 


FOURTH  SESSION 

TUESDAY  EVENING,  FEBRUARY  7,  1922 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8:00  O’CLOCK 

Catalogue  Numbers  751  to  999 


No.  751 

SUZUKI  HARUNOBU 

C.  1730—1770 

51  Suigyu  ni  Momo  Hana.  A  black  and  a  white  water  buffalo  and  a 
peach  tree  with  pink  and  white  blossoms.  Signed,  Harunobu  gwa. 

Size,  11x8 Us  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

From  the  Vicomte  de  Sartiges  collection 
209 


Second  Evening 


210 


752  The  Coming  of  Autumn.  A  tall  young  woman  in  a  violet  and  white 
striped  bathrobe  standing  in  a  room  in  a  house  on  the  bank  of  a 
river,  looking  out  at  a  kiri  tree  from  which  large  green  leaves  are 
falling.  An  ode  by  Fujiwara  no  Toshiyuki  Ason  on  “The  Coming 
of  Autumn”  is  printed  above.  Signed,  Harunobu  gwa. 

Size,  107/ §  x  8 kf  inches.  Fine  impression ,  in  fine  condition. 


No.  753 


753  U-tsuki.  “The  Flower  Month,”  the  fancy  name  for  the  fourth  month 
of  the  lunar  calendar.  A  young  man  in  komuso  disguise  secretly 
visiting  two  girls  whose  heads  appear  behind  a  barred  window. 
Series:  Fuzoku  Shiki  Kasen,  i.e.,  “Popularized  Customs  of  the 
Four  Seasons,”  a  set  of  thirteen  prints  for  the  months  of  the  year 
1770.  Signed,  Suzuki  Harunobu  gwa. 

Size,  11x8  inches.  Fine  impression,  somewhat  soiled  hut  a  charming 
print  nevertheless.  See  illustration. 


211 


Second  Evening 


754  O  Fuji  and  a  Girl  Friend.  The  popular  daughter  of  the  proprietor 
of  the  Moto  Yanagi-ya  tooth-brush  and  cosmetic  shop  near  the 
entrance  to  Kinryuzan  temple,  seated  on  the  shop  platform  talking 
to  a  girl  friend.  Not  signed. 

Size,  10%  x  7%  inches.  Fine  impression,  in  fine  condition. 


755  Miidera  no  Bansho.  “The  Vesper  Bell  at  Mii  Buddhist  Temple.” 

A  woman  holding  an  open  fan,  pausing  to  listen  as  she  passes  the 
great  bell  hung  over  a  platform  beside  which  is  a  cherry  tree  in 
bloom.  Series:  Furyu  Utai  Hakkei,  i.e.,  “Fanciful  Eight  Scenes  of 

Operatic  Songs.”  Signed,  Harunobu  gwa. 

Size,  11%  x  5%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 

From  the  Vicomte  de  Sartiges  collection 


Second  Evening 


212 


756  On  Parade.  An  oiran  attended  by  her  two  kamuro.  One  of  the  oban 

prints  that  Harunobu  designed  in  his  last  year.  Signed,  Suzuki 
Harunobu  gwa. 

Size,  14)4  x  95A  inches.  Fine  impression.  Appears  to  he  in  fine  con¬ 
dition,  hut  has  several  moth  holes  so  cleverly  patched  as  to  he  scarcely 
noticeable,  and  it  has  been  trimmed  a  half  inch  at  the  foot. 

757  The  Sleeping  Child.  A  young  woman  standing  in  an  open  room  in  a 

house  on  the  bank  of  a  river,  and,  at  her  feet  a  young  girl  who  has 
fallen  asleep  over  her  writing  lesson  and  has  tumbled  over  against 
the  table  on  which  her  copy  book  and  writing  box  are  placed. 
Signed,  Harunobu  gwa. 

Size,  lOf 2  x  7%  inches.  Fine  impression,  in  fine  condition. 

758  At  the  Riverside.  Illustration  of  an  ode  by  Ono  no  Komachi  that  is 

printed  on  a  conventional  cloud  at  the  top  of  the  print.  A  young 
woman  in  summer  attire,  holding  a  white  uchiwa  (round  fan) 
stands  by  a  wide  bench  on  the  bank  of  a  river  and  is  looking  down 
at  the  water.  Signed,  Harunobu  gwa. 

Size,  10  A x  7 Ms  inches.  Fine  impression,  slightly  soiled  on  the 
extreme  right  edge,  otherwise  in  fine  condition. 

ISODA  KORYUSAI 

Worked  C.  1768—1786 

759  Crow  and  Heron.  The  birds  stand  upon  a  branch  of  a  snow-laden 

willow,  below  which  projects  a  small  branch  of  a  tsubaki  (Camellia 
japonica)  in  flower.  The  contrast  between  the  snowy  plumage  of 
the  egret  and  the  deep  black  of  the  crow  is  made  more  striking  by 
the  effective  way  in  which  the  birds  are  placed  in  the  composition. 
Signed,  Koryu  gwa. 

Size,  10x7  inches.  Fine  impression,  in  fair  condition.  See  illus¬ 
tration. 

From  the  Vicomte  de  Sartiges  collection 

760  The  Crane’s  Nest.  The  nest  is  placed  on  the  branch  of  a  large  pine. 

The  mother  bird  is  hovering  over  her  brood  of  chicks  that  are  just 
ready  to  fly,  and  is  calling  to  her  mate  as  he  circles  about  above  her 


213 


Second  Evening 


where  the  red  sun  is  seen  through  the  upper  branches  of  the  tree. 
Signed,  Koryusai  gwa. 

Size,  10%  x  7%  inches.  Fine  impression,  in  fine  condition.  See 
illustration,  p.  214- 

From  the  Vicomte  de  Sartiges  collection 


No.  759 


761  Gompachi  and  Komurasaki.  The  lovers  in  komuso  disguise,  walking 

side  by  side.  Signed,  Koryu  gwa. 

Hashira-e.  Size,  27%  x  4%  inches.  Good  impression,  faded,  hut 
otherwise  in  very  good  condition. 

762  Exhibiting  a  Print.  A  young  woman  holding  up  a  pillar  print,  two 

cranes  under  a  gnarled  pine,  which  she  is  showing  to  some  one  not 

in  the  field  of  this  picture.  Signed,  Koryu  gwa. 

Iiashira-e.  Size,  26%  x  4%  inches.  Fine  impression,  in  good  con¬ 
dition. 


Second  Evening 


214 


No.  760 

763  A  White  Falcon  standing  on  a  slate-colored  rock  at  night,  sharply 
outlined  against  a  black  sky.  Chrysanthemums  are  in  bloom  about 
the  rock  and  a  tall  banana  plant  grows  close  behind  it.  This  is  a 
famous  print.  It  was  regarded  as  one  of  the  treasures  of  M.  Rouart’s 
collection.  So  far  as  the  writer  of  this  catalogue  is  informed,  no 
other  impression  of  it  is  known.  It  was  printed  from  wood  blocks, 
but  the  outlines  instead  of  being  engraved  in  relief,  were  incised, 
and  the  paper  was  dampened  and  pressed  into  the  incisions,  face 
down,  thus  producing  the  peculiar  gauffrage  of  the  ancient  Chinese 
ishizuri  or  prints  made  from  incised  stone  slabs,  which  it  imitates. 
This  is  probably  a  print  made  by  Ivoryusai  for  one  of  his  samurai 
patrons  after  he  was  given  the  rank  of  Hokyo.  Signed,  Koryusai  gwa. 

Size,  3  4-7Ax  1 1  finches.  In  fine  condition.  See  frontispiece.  Illustrated 
also  on  Plate  XLVII  of  the  V .  1 .  Ilarunobu-Koriusai-Shunsho  Catalogue. 


215 


Second  Evening 


KITAO  SHIGEMASA 

Pupil  of  Nishimura  Shigenaga.  Personal  name  Kitao  Sasuki.  Famous 
as  a  calligrapher  as  well  as  a  painter.  In  his  later  years  used  the  studio  name 
Kosuisai.  Born  1739;  died  March  8,  1820. 

764  Kameido  Ume  Yashiki  Gwaryu-bai  no  Zu.  “The  Sleeping-dragon 

Plum  Tree  in  the  Plum  Garden  at  Kameido.”  An  “ukiye,”  or 
perspective  picture.  Signed,  Kitao  Shigemasa  gwa. 

Size,  9}4  x  14A  inches.  Ordinary  impression,  in  good  condition. 

765  Carp  Ascending  a  Waterfall.  Printed  in  pale  gray,  pale  blue,  buff,  and 

black.  Signed,  Kitao  Shigemasa  gwa. 

Hashira-e.  Size,  24x4%  inches.  Good  impression,  in  good  condi¬ 
tion,  very  agreeably  toned. 

766  Wild  Boar  Meat.  A  Dai-Sho  calendar  for  the  boar  year  1815.  A 

haunch  of  wild  boar  meat  wrapped  in  bamboo  sheath.  Signed, 
Kitao  Kosuisai  gwa. 

Size,  71/ 8  x  5 %  inches.  Fine  impression,  m  good  condition. 


KITAO  MASANOBU 

Pupil  of  Shigemasa.  Personal  name  Iwase  Ilaida.  In  his  thirtieth  year  he 
gave  up  print  designing  to  devote  himself  to  literary  work.  Became  famous  as 
a  writer  of  comic  odes  and  of  novels  under  the  name  of  Santo  Kyoden.  Born 
1761;  died  1816. 

767  A  Wayside  Meeting.  A  youth  on  his  way  to  the  Benten  shrine  at 

Susaki,  carrying  a  lantern,  stops  in  passing  to  speak  to  two  young 
women.  Series:  Tosei  Tsuya  Awase  Ju  Kei  no  Zu,  i.e.,  “Ten 
Elegant  Up-to-date  Models.”  Signed,  Kitao  Masanobu  zu. 

Size,  9%  x  7 A  inches.  Fair  impression,  in  fair  condition.  See 
illustration,  p ■  217. 

768  Geisha  and  Hakoya.  A  geisha  walking  under  an  umbrella  attended 

by  a  man  servant  bearing  her  luggage  in  a  box  carried  upon  his 
back.  Signed,  Masanobu  gwa. 

Hashira-e.  Size,  27%  x  4%  inches.  Good  impression,  in  fair  con¬ 
dition.  See  illustration,  p.  216. 


No.  768 


No.  772 


217 


Second  Evening 


No.  767 


KITAO  MASAYOSHI 

Pupil  of  Shigemasa.  From  about  1794  he  usually  signed  as  Keisai,  though 
he  did  not  drop  the  Masayoshi  name  entirely,  signing  sometimes  Keisai  Ma¬ 
sayoshi  and  more  rarely  Kitao  Keisai  Masayoshi.  He  did  not  design  many 
single-sheet  prints,  but  is  widely  known  by  his  books  of  very  vivacious  rough 
sketches.  During  the  Kwansei  period  he  developed  a  style  of  his  own,  based 
upon  study  of  the  works  of  the  Kano  artists  and  of  the  great  Chinese  painters  of 
high  antiquity.  Born  1761;  died  1824. 

769  White  Narcissus  and  Quail.  In  Paris  this  print,  which  is  unsigned,  was 
attributed  to  Koryusai  by  wa  Japanese  expert.’  A\  ith  that  at¬ 
tribution  the  writer  of  this  catalogue  is  unable  to  agree.  M. 


No.  770 


219 


Second  Evening 


Vignier  is  inclined  to  regard  it  as  the  design  of  a  Chinese  artist  of 
the  Sung  dynasty,  copied  by  a  Japanese  painter.  That  may  be  so, 
but  if  so,  the  Japanese  painter  was  probably  Masayoshi,  to  whom, 
because  of  the  brush  strokes,  the  drawing  of  the  bird  and  the  peculiar 
treatment  of  the  color  in  the  foliage  of  the  narcissus,  the  present 
writer  thinks  it  should  be  attributed. 

Size,  8%x6%  inches.  Fine  impression,  upon  Chinese  paper.  In 
fine  condition. 

From  the  Vicomte  de  Sartiges  collection 


TORII  KIYONAGA 

1752-1813 

770  A  Sudden  Shower  at  the  Mimeguri  Inari  Shrine.  Men  and  women 
seeking  the  shelter  of  the  gateway.  In  the  cloud  above  the  demons 
of  the  thunder-storm  are  conferring  upon  a  hokku  (seventeen- 
syllable  ode)  that  was  composed  by  the  poet  Kikaku  (1661-1707). 
This  illustrates  the  tradition  that  on  June  28,  1693,  Kikaku  en¬ 
countered  a  crowd  of  greatly  perturbed  farmers  at  the  Mimeguri 
Inari  Shrine  at  Mukojima,  Edo,  where  they  had  gone  to  pray  for 
rain  to  terminate  a  long  drought  that  threatened  their  crops  with 
ruin.  In  response  to  the  suggestion  of  his  companion,  and  the 
appeal  of  the  farmers,  he  composed  the  ode: 

“If  thou  art  indeed  the  God  who  watchest  over  farms,  send  forth, 
I  pray,  thy  showers.” 

Having  recited  this  poem  with  great  earnestness  before  the 
sacred  mirror  of  the  shrine,  to  the  great  delight  of  all  the  prayer 
was  immediately  answered  and  the  nourishing  rain  descended 
in  torrents.  As  is  pointed  out  in  the  description  of  this  print, 
in  the  Boston  Museum  of  Fine  Arts  Bulletin,  for  December, 
1916,  “The  Japanese  expression  meaning  ‘watch  over,’  as  used 
in  the  poem,  is  mimeguri,  a  homonym  of  the  name  of  the  shrine. 
Such  plays  upon  words  are  a  marked  characteristic  of  Japanese 
poetry.” 

Triptych.  Signed,  Kiyonaga  gwa.  Size,  15x/i  x  29 %  inches.  Good 
impression,  in  fair  condition.  See  illustration. 


No.  773 


221 


Second  Evening 


771  Temple  Visiting.  A  matron  and  her  three  daughters  entering  the  gate 

of  Kinryusan  temple.  Series,  Asakusa  Kinryusan  Hakkei.  Signed, 
Kiyonaga  gwa. 

Size,  .9kg  x  7%  inches.  Fair  impression,  in  good  condition. 

772  In  the  Doorway.  A  tall  woman  entering  a  room,  having  pushed  the 

shoji  aside.  Above  her  head  is  a  cupboard  in  which  a  lantern,  a 
sak£-bottle  and  other  objects  are  shown  in  storage.  Signed, 
Kiyonaga  gwa. 

Hashira-e.  Size,  26%  x  4%  inches.  Fine  impression,  in  fine  con¬ 
dition  though  slightly  toned.  See  illustration,  p.  216. 

773  An  Actor’s  Boating  Party.  Several  famous  actors  taking  a  holiday 

on  the  river  in  a  great  pleasure  barge  accompanied  by  their  wives 
and  by  geisha  to  furnish  music.  In  the  middle  of  the  boat  the 
third  Sawamura  Sojuro  wearing  a  black  haori  and  green  hakama  is 
seated  by  Iwai  Kumesaburo,  and  the  second  Ichikawa  Komazo 
is  seated  before  them  and  leaning  over  to  talk  to  two  women.  At 
the  right  a  young  actor,  made-up  as  a  monkey,  is  dancing  to  a 
samisen  accompaniment.  In  the  foreground  several  smaller  boats 
are  drawn  up  alongside.  Signed,  Kiyonaga  gwa. 

Triptych.  Size,  15  x  30  inches.  Fine  impression,  in  good  though  not 
quite  perfect  condition.  See  illustration. 

774  Domestic  Occupations.  Women  in  the  courtyard  of  a  large  house  on 

the  bank  of  the  Sumida  River,  engaged  in  washing  and  drying 
cloth;  and  in  the  house  at  the  right  one  is  seated  before  a  kyodai 
arranging  her  coiffure.  Signed,  Kiyonaga  gwa. 

Triptych.  Size,  1 4%  x  28%  inches.  Late  impression,  in  poor  condition. 

775  Cherry-flower  Viewing.  Three  women  in  holiday  attire  walking  on 

the  bank  of  a  river  under  blossoming  cherry  trees.  Middle  sheet 
of  a  triptych.  Signed,  Kiyonaga  gwa. 

Size,  15  x9%  inches.  Good  impression,  in  good  condition. 

776  A  Famous  Boy  Calligrapher.  Ink-proof  from  the  key-block  of  the  print 

showing  the  seven-year-old  Minamoto  Nariyuki  from  the  province 
of  Kai  seated  on  the  floor  of  an  Edo  drug  shop,  writing  an  inscrip¬ 
tion,  while  the  proprietor  hangs  up  one  previously  written,  and  his 
wife  is  seated  by  the  youngster  watching  the  amazing  performance 
for  one  so  young.  The  name  of  the  drug  shop  does  not  appear, 


Second  Evening 


222 


but  a  tsuitate  bears  an  advertisement  of  the  pills  called  “  Man- 
nogan,”  and  states  that  the  main  house  was  located  at  the  east 
side  of  the  castle,  in  Ivai,  and  that  there  was  another  branch  house  in 
Edo  outside  the  gate  of  Kinryusan  temple.  Signed,  Kiyonaga  gwa. 

Size,  15%  x  10%  inches.  Good  impression,  in  good  condition. 


No.  777 

HOSODA  EISHI 

1756-1829 

WAKANA  HATSU  ISSHO 

“  The  First  New  Dress  of  the  Year.”  Complete  set  of  twelve  prints  depicting 
tayu  in  their  New  Year’s  apparel.  Each  signed,  Eishi  zu.  Size,  1^%  x  9% 
inches.  All  fine  impressions,  in  fine  condition. 

From  the  Vicomte  de  Sartiges  collection 


223 


Second  Evening 


777  Shinateru  of  Okamoto-ya. 

See  illustration. 

778  Mitsuhana  of  Obishi-ya. 

779  Somenosuke  of  Matsuba-ya. 


No.  780 


780  Tokiwagi  of  Kana-ya. 

See  illustration. 

781  Shinowara  of  Tsuru-ya. 


782  Akashi  of  Shizutama-ya. 


Second  Evening 


224 


783  Mitsuhama  of  Hiogo-ya,  seated,  holding  a  pipe  and  looking  around. 

See  illustration. 

784  Nishikido  of  Choji-ya. 


No.  783 

785  Utamaki  of  Take-ya. 

786  Shiratsuyu  of  Wakana-ya. 

787  Hanando  of  Ogi-ya. 

788  Tamagiku  of  Kadotama-ya. 


789  Fair  Visitors  to  the  Kawasaki  Temple.  Four  women  on  their  way  to 

the  so-called  Daishi  Sama  Dera,  otherwise  known  as  the  Ryo 


225 


Second  Evening 


Daishi,  or  two  Buddhas  temple  at  Kawasaki,  near  Edo.  Right- 
hand  or  middle  sheet  of  a  triptych.  Signed,  Eishi  gwa. 

Size,  l^5/ 8  x  9%  inches.  Fine  impression,  in  fine  condition. 


No.  786 

KATSUKAWA  SHUNYEI 

Pupil  of  Shunshd.  Personal  7iame  I  soda  Kujiro.  Chiefly  known  for  his 
actor  prints  which  are  excellent  as  portraits  and  of  marked  individuality  and 
high  artistic  merit.  Born  1768;  died  1819. 

790  The  Ninth  Morita  Kanya  as  a  woman  standing  on  the  bank  of  a  river. 
Signed,  Shunyei  gwa. 

Size,  1  llix  oYi  inches.  Fine  impression,  in  good  condition.  See 
illustration,  p.  226. 


Second  Evening 


226 


No.  790  No.  792 

791  A  Rokurokubi.  A  long-necked  woman  warming  herself  by  a  kotatsu. 

Rokurokubi,  or  “  swirling  necks,”  are  supposed  to  be  harmless  people 
whose  necks  stretch  out  to  great  lengths  while  they  are  asleep. 
Signed,  Katsukawa  Shunyei  gwa. 

Size,  13  x  6  inches.  Good  impression,  in  good  condition. 

7 92  The  Third  Segawa  Kikunojo  as  a  woman  standing  on  a  hillside  by  a 

weir.  Signed,  Shunyei  gwa. 

Size,  11%  x  5l/i  inches.  Fine  impression,  trimmed  a  half-inch  at  the 
foot.  See  illustration. 

793  Two  Famous  Wrestlers.  Banjaku  and  Naru-ga-taki  having  a  bout. 

Signed,  Shunyei  gwa. 

Size,  12%  x  8%  inches.  Ordinary  impression,  in  fair  condition. 


227 


Second  Evening 


794  At  Grips  with  Each  Other.  A  wrestling  match  between  Yukaku-u 
and  Hide-no-Yama.  Signed,  Shunyei  gwa. 

Size,  12%  x  8%  inches.  Ordinary  impression,  in  poor  condition. 


No.  795 


795  The  Third  Segawa  Kikunojo.  Large  head  and  bust  portrait  of  this 

distinguished  actor  of  women’s  roles.  Signed,  Shunyei  gwa. 

Size,  14%  x  9%  inches.  Fine  impression,  in  fine  condition  save  along 
the  right  <edge  where  it  is  slightly  damaged. 

796  Actor  as  a  Shakkyo  Dancer.  The  actor,  who  impersonates  a  woman 

and  holds  a  papier-mache  head  of  a  shishi  cub,  has  not  been 


Second  Evening 


228 


identified.  Series:  Oshi-e  Gata,  i.e.,  “Built-up  Pictures.”  Signed, 
Shunyei  gwa. 

Size,  4\ 2  x  9%  inches.  Good  impression,  slightly  toned  and  trimmed 
at  the  foot. 

797  Scene  from  Chushingura,  Act  VI.  0  Karu  bidding  farewell  to  her 

husband  Hayano  Kanpei.  Series,  Chushingura.  Signed,  Shunyei 
gwa. 

Size,  10%  x7%  inches.  Fine  impression,  in  fine  condition. 

798  An  Outing  at  Oshiagi.  The  scene  is  the  same  as  that  shown  in  the 

triptych  by  Shuncho,  No.  294  of  this  collection.  Two  men  and 
four  women  are  shown  stopping  to  rest  in  the  grounds  of  a  Shinto 
shrine,  where  a  plank  foot-bridge  crosses  a  narrow  stream  at  its 
mouth.  This  print  presents  a  phase  of  Shunyei’s  work  of  which 
there  are  very  few  specimens  in  American  collections.  Signed, 
Shunyei  gwa. 

Diptych.  Size,  14Vs  x  19%  inches.  Good  impression,  in  fair  con¬ 
dition. 

KANADEHON  CHUSHINGURA 

“The  Original  Chushingura ,”  that  is,  the  real  story  of  the  Loyal  League 
and  not  its  stage  representation.  It  is,  however,  the  story  that  was  dramatized, 
not  the  historical  event  upon  which  the  play  was  founded.  Seven  of  the  twelve 
prints  of  the  series.  Each  signed,  Shunyei  gwa.  Dated  sixth  month  hare  year, 
i.e.,  July  1807.  Size  14%  x  9%  inches.  Fine  impressions,  in  fair  condition. 

799  Moronao  Upbraiding  Wakasa-no-suke  for  sending  Kaoyo-gozen  away 

after  she  had  refused  to  receive  the  love-letter. 

800  Act  III.  Kanpei’s  fight  with  Bannai. 

801  Act  IV.  Hara  Goemon  and  Ono  Kudayu  at  the  house  of  Enya  Hangan 

where  they  have  come  to  notify  him  that  he  has  been  condemned 
to  die. 

802  Act  V.  Yoishibei  begging  Sadakuro  to  spare  his  life. 

803  Act  VI.  The  scene  at  the  house  of  Yoichibei.  O  Karu  taking  leave  of 

her  husband,  and  Goemon’s  interview  with  Yoichibei’s  widow. 


229 


Second  Evening 


804  Act  VII.  Yuranosuke  eating  fish  at  the  dinner  at  Ichimonji-ya. 

805  Retribution.  The  scene  in  Moronao’s  yashiki  when  the  ronin  have 

broken  in  and  he  is  being  warned  by  the  members  of  his  household 
that  he  must  hide  somewhere  if  he  would  save  his  life. 


No.  806 

KITAGAWA  UTAMARO 

1753-1806 

806  Nature’s  Mirror.  A  mother  holding  her  infant  son  upon  her  back 
with  his  head  over  her  shoulder,  and  bending  forward  so  that  both 


Second  Evening 


230 


of  their  faces  are  reflected  in  the  water  of  a  stone  chozubachi. 
Series:  Jigei  no  San  Sho,  i.e.,  “Child’s  Play  in  Three  Laughs.” 
Signed,  Utamaro  fude 

Size,  14/i  x  9%  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

807  Looking  Through  It.  A  woman  examining  a  piece  of  silk  gauze  by 

holding  it  up  and  looking  through  it,  while  her  infant  son  amuses 
himself  with  her  round  fan.  Signed,  Utamaro  fude. 

Size,  13%  x  9%  inches.  Fine  impression.  Trimmed  from  15x10 
inches;  in  good  condition  otherwise. 

808  Seen  Through  the  Kaya.  A  young  man  seated  within  a  mosquito 

net  canopy,  and  a  woman  standing  outside  talking  to  him.  Signed, 
Utamaro  fude. 

Size,  14%  x  9%  inches.  Fine  impression.  Trimmed  from  15x10 
inches;  otherwise  in  good  condition. 

809  A  Palace  in  the  Ryu-kyu  Islands.  Left-hand  sheet  of  a  well-known 

triptych.  A  man  and  a  woman  are  shown  playing  ken,  and  another 
woman  stands  beside  them.  The  costumes  are  a  fanciful  mixture 
of  Chinese  and  Japanese  fashions.  Signed,  Utamaro  gwa. 

Size,  14  Vs  x  10  inches.  Late  impression,  in  fair  condition. 

810  Behind  the  Sudare.  A  woman  seated  on  a  veranda  with  one  foot 

drawn  up  by  her  side,  and  a  sudare  (curtain)  of  bamboo  slats 
pulled  down  before  her  so  that  the  upper  part  of  her  body  and  her 
face  are  seen  through  it.  Another  woman  stands  beside  her  outside 
the  curtain.  Left-hand  sheet  of  a  triptych  designed  to  show  the 
effects  of  various  things  seen  through  curtains  and  gauze  fabrics. 
Signed,  Utamaro  fude,  but  the  signature  has  been  trimmed  off  at 
the  right. 

Size,  14%  x  9%  inches.  Fine  impression,  in  fine  condition  save  that 
it  has  been  trimmed  from  15  x  10  inches. 

811  Woman  Nursing  an  Infant  Son.  Series:  Sakiwaki  Kotoba  no  Hana, 

i.e.,  “Blooming-flower  Words.”  Signed,  Utamaro  fude. 

Size,  15%  x  10  inches.  Fine  impression,  in  very  fine  condition. 

812  Two  Brother-pictures.  A  woman  holding  a  lighted  taper  while  a  youth 

captures  a  rat,  shown  as  a  modern  analogue  of  the  legend  of  Min- 


231 


Second  Evening 


No.  812 


amoto  no  Yorimasa  killing  the  nuye,  a  creature  having  the  head  of 
a  monkey,  the  claws  of  a  tiger,  the  back  of  a  badger,  and  a  tail 
that  was  a  snake  with  its  head  on  the  end  of  it.  Signed,  Utamaro 
fude. 

Size,  14Ysx95/s  inches.  Fine  impression,  in  fine  condition.  See 
illustration.  Illustrated  also  on  Plate  CV  of  the  V.-I.  Utamaro  catalogue. 

813  Two  Brother-pictures.  A  gorgeously  dressed  woman  with  a  pet  dog 
held  by  a  red-cord  leash,  compared  to  the  Princess  Josan-no-Miya 

and  her  pet  kitten.  Signed,  Utamaro  fude. 

Size,  x  9%  inches.  Good  though  not  quite  perfect  impression,  in 
fine  condition. 


Second  Evening 


232 


814  The  Susuhaki,  or  house-cleaning  in  preparation  for  the  New  Year 

holidays.  Women  engaged  in  various  tasks  and  having  sport  with 
the  men  who  are  in  their  way.  A  well-known  composition,  rare, 
however,  in  complete  form,  the  two  right-hand  sheets  being  as  a 
rule  lacking.  Signed,  Utamaro  fude. 

Pentaptych.  Size,  15  x  49  inches.  Fair  impression,  in  fair  condition. 

815  A  Flower-viewing  Excursion.  A  procession  of  women  and  girls  carry¬ 

ing  blue  umbrellas  and  attended  by  a  young  man  and  a  servant 
bearing  a  tub  of  sake,  who  bring  up  the  rear.  The  hill  with  blossom¬ 
ing  cherry  trees  upon  its  slopes,  which  is  their  destination,  is  seen 
in  the  distance  above  a  long  cloud  of  yellowish  fog.  Signed,  Uta¬ 
maro  fude. 

Pentaptych.  Size,  1414  x  4&A  inches.  Good  impression,  in  fair  con¬ 
dition. 

816  The  Hannya  Mask.  A  woman  pretending  to  be  frightened  when  a 

young  boy  holds  a  demon  mask  before  his  face.  His  elder  sister 
seated  behind  him  laughs  heartily  at  the  performance.  Series, 
Kogei  I  no  San  Sho.  Signed,  Utamaro  fude. 

Size,  14lA  x  9%  inches.  Fine  impression,  in  good  condition. 

817  A  Yoshiwara  Beauty.  Somenosuke  of  Matsuba-ya  promenading, 

accompanied  by  her  kamuro  Wakaba  and  Wakagi.  Signed, 
Utamaro  fude. 

Size,  1414,  x  914  inches.  Good  impression,  in  good  condition. 

818  Boys  at  Play.  A  large  boy  pulling  off  the  head  covering  of  his  younger 

brother  wdiile  their  elder  sister  looks  on.  The  boys  are  enacting  a 
scene  between  Kagekiyo  and  Kunitoshi,  two  well-known  characters 
in  Japanese  story.  Series:  Bu  Sha  E-gata  Kodomo  Asobi,  i.e., 
“Types  of  Warriors  Reflected  in  Children’s  Games.”  Signed, 
Utamaro  fude. 

Size,  14f 2  x  914  inches.  Good  impression,  in  good  condition. 

819  Ne  no  Kuku.  The  hour  of  the  rat — 11  p.  m.  to  1  a.  m.  as  we  reckon 

time.  A  concubine  getting  up  to  soothe  her  restless  infant  son. 
Series:  Fuzoku  Bijin  Tokei,  i.e.,  “Customs  of  Women  at  All  Hours.” 
Signed,  Utamaro  fude. 

Size,  1414  x  9 14  inches.  Good  impression,  in  fair  condition. 


233 


Second  Evenin  g 


No. r  820 


820  Women  Dressing  Their  Hair.  One  of  the  women  is  seated  before  a 

mirror-stand,  the  other  has  her  back  turned  to  the  spectator  and 
holds  a  hand  mirror  in  which  her  face  is  reflected.  Signed,  Utamaro 
fude. 

Size,  15  x  10  inches.  Fine  impression,  in  fine  condition.  See  illus¬ 
tration.  Also  illustrated  in  color,  Plate  42,  V.  I.  Utamaro  Catalogue. 

821  San  Nin  Shojo  Meitei  no  Zu.  "Three  Drunken  Shojo.”  In  this  title 

the  word  "shojo”  is  used  in  the  slang  sense  in  which  it  is  applied 
to  drunken  men,  three  of  whom  are  shown  in  the  print.  Signed, 
Utamaro  fude. 

Size,  14%  x  9 %  inches.  Ordinary  impression,  in  good  condition. 


Second  Evening 


234 


No.  822 

822  Tying  Her  Obi.  An  oiran  of  Ogi-ya  kneeling  beside  her  bed  to  tie 

her  obi.  In  the  upper  corner  at  the  left  is  a  rebus  giving  her  name. 
Signed,  Utamaro  fude. 

Size,  14/ 8  x  9\ 2  inches.  Fine  impression,  in  fair  condition.  See  illustra¬ 
tion.  Illustrated  also  on  Plate  LXXXII  of  the  V.  I.  Utamaro  catalogue. 

823  Yuranosuke  and  O  Karu.  The  leader  of  the  Loyal  Ronin  is  shown 

helping  0  Karu  to  descend  from  the  second  story  balcony  of  Ichi- 
monji-ya  where  she  was  seated  while  he  stood  on  the  veranda 
reading  the  letter  from  Kaoyo-gozen.  Series,  Chushingura.  Scene 
from  the  seventh  act.  Signed,  Utamaro  fude. 

Size,  14/4  x  9/i  inches.  Good,  impression,  in  good  condition. 


235 


Second  Evening 


824  A  Child  Otomo  no  Kuronushi.  A  youngster  dressed  in  makeshift 

apparel  to  resemble  the  traditional  appearance  of  the  famous  ninth 
century  poet,  and  lifted  upon  his  father’s  shoulder  while  his  mother 
smilingly  looks  on.  Series:  Tosei  Kodakara  Rokkasen,  i.e.,  “Up- 
to-date  Children  as  the  Six  Famous  Poets.”  Signed,  Utamaro  fude. 
Size,  UVs  x  9%  inches.  Good  impression,  in  good  condition. 

825  A  Child  Bunya  no  Yasuhide.  Two  women  looking  at  a  youngster  fixed 

up  to  resemble  the  ninth  century  poet,  and  having  a  book  tied  upon 
his  head  as  a  substitute  for  the  kanmuri  worn  in  the  olden  time. 
Same  series  and  signature  as  the  preceding  lot. 

Size,  14A>  x  95A  inches.  Good  impression,  in  good,  condition. 

826  Yama-uba  ni  Kintaro.  The  youthful  Sakata  Kintoki  and  his  foster 

mother.  Series,  Tokiwa  Joruri  Shu.  Signed,  Utamaro  fude. 

Size,  14x9  inches.  Ordinary  impression,  in  fair  condition. 

827  The  Peep  Show.  A  woman  entertaining  two  small  bo3^s  with  a  kara- 

kuri,  a  box,  somewhat  on  the  principle  of  a  camera,  to  show  pictures 
by  looking  at  them  through  a  peep  hole,  thus  making  them  appear 
more  realistic.  Series:  Furyu  Kodakara  Awase,  i.e.,  “A  Group  of 
Fanciful  Pictures  of  Children.” 

Size,  1 4  Ys  x  1 0  inches.  Good  impression,  not  in  very  good  condition. 

828  The  Peep  Show.  Another  impression. 

In  fine  condition. 

829  Umegawa  and  Chubei.  The  lovers  eloping  on  a  rainy  evening.  Signed, 

Utamaro  fude. 

Hashira-e.  Size,  235/%  x  4  inches.  Good  impression,  in  good  condition. 

830  Edo  Shi-ire  Otsu  Miyagi.  “A  Souvenir  of  Otsu  made  in  Edo.”  A 

comic  picture  making  fun  of  the  Otsu-e  or  rough  sketches  sold  at 
Otsu  on  Lake  Biwa.  A  barber  is  depicted  standing  on  a  ladder  to 
shave  the  tall  cranium  of  Toshi-toku  who  is  laughing  heartily  at  the 
plight  of  a  blind  shampooer  who  struggles  to  free  himself  from  a 
dog  that  has  caught  hold  of  one  end  of  his  fundoshi  (breech-clout) 
and  is  pulling  it  off.  Signed,  Utamaro  fude,  “After  a  painting  by 

Matahei  of  Otsu,  pupil  of  Tosa  Mitsunobu.” 

Size,  15  x  10  inches.  Fine  impression,  in  fine  condition. 


Second  Evening 


236 


831  Gehin  no  Zu.  Daughters  of  “the  lowest  class,”  that  is,  daughters  of 
tradesmen.  A  young  woman  seated  by  a  flower-bucket  in  which  a 
bunch  of  iris  is  placed,  turning  to  speak  to  another  woman  who 
stands  behind  her  tying  her  obi.  Series:  Fiiryu  San  Dan  Musume, 
i.e.,  “Three  Classes  of  Musume.”  Signed,  Utamaro  fude. 

Size,  15  x  9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


No.  831 

832  KodakaraGei.  “The  Child’s  Accomplishment.”  A  young  boy  stand, 
ing  behind  his  mother,  is  playing  with  a  cat  that  he  is  luring  to  run 
after  a  wisp  of  paper  tied  to  the  end  of  a  string.  Series:  Warau 


237 


Second  Evening 


Kado  Niwa  Fuku  Kitaru,  i.e.,  “Good  Luck  and  Happiness  Come 
to  the  Gate  When  There  is  Laughter  Inside.”  Signed,  Utamaro 
fude. 

Size,  14%  x  9%  inches.  Good  impression,  in  fine  condition. 


No.  833 


833  After  the  Bath.  Large  head  and  bust  portrait  of  the  tayu  Yaegiku  of 
Matsuba-ya  wiping  her  cheek  with  her  bathrobe.  Signed,  Utamaro 
fude. 

Size,  15x9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


Second  Evening 


238 


834  Ochappie.  This  is  a  slang  phrase  designating  a  saucy  girl.  Large  head 

and  bust  portrait  of  a  girl  holding  one  end  of  a  kerchief  in  her  mouth. 
Series,  Sakiwaki  Kotobuki  Hana,  a  poetical  title  not  easily  trans¬ 
latable,  the  literal  signification  of  the  three  words  being  “Blossoms 
of  several  colors  on  one  stalk,”  “Wishing  you  long-life  and  happi¬ 
ness,”  and  “Flowers.”  Signed,  Utamaro  fude. 

Size,  tf"/s  x  9'Y\  inches.  Fine  impression,  in  fine  condition. 

835  Woman  Threading  a  Needle.  Series :  Meisho  Fukei  Bijin  Ju-ni  So,  i.e., 

“Famous  Views  of  Twelve  Women’s  Faces.”  Signed,  Utamaro 
fude. 

Size,  lfYs  x  9%  inches.  Fine  impression,  in  fine  condition. 

836  Hair  Dressing  and  Nursing.  A  woman  nursing  her  young  son  while 

she  is  seated  before  a  kyodai  dressing  her  hair,  and  another  woman 
standing  behind  her  bends  low  and  holds  out  a  hair  ornament  to 
amuse  the  child.  A  papier-mache  image  of  Daruma  stands  beside 
the  kyodai  and  is  reflected  in  its  lacquer  surface.  Signed,  Utamaro 
fude. 

Size,  UfiA  x  9  A  inches.  Good  impression,  in  fair  condition. 

837  At  the  Theatre.  A  man  seated  in  a  box  at  a  theatre  smoking  a  pipe, 

and  three  women  taking  their  leave.  Double-page  illustration  for 
the  book  of  actors’  portraits  by  Toyokuni  and  Kunimasa,  “Haiyu 
Gaku-ya-tsu,”  Edo,  1799.  Signed,  Utamaro  fude. 

Size,  5 Ys  x  8fs  inches.  Good  impression,  in  fair  condition. 

838  A  Modern  Komachi.  A  woman  reading  a  letter  while  a  hair-dresser 

is  combing  her  hair.  The  reference  is  to  the  copy-book-washing 
episode  in  Ono-no-Komachi’s  career.  Series,  Fuiyu  Nana  Komachi. 
Signed,  Utamaro  fude. 

Size,  x  lOfis  inches.  Good  impression,  in  good  condition. 

839  Denbei  Nyobo  O  Shun  ga  So.  The  face  of  0  Shun,  wife  of  Denbei. 

Large  head  and  bust  portrait.  0  Shun  and  Denbei  were  lovers 
who  were  at  last  united  after  undergoing  much  tribulation.  Signed, 
Utamaro  fude. 

Size,  x  inches.  Fine  impression,  in  fair  condition. 


239 


Second  Evening 


No.  840 


TAMAGAWA  SHUCHO 

Very  little  is  known  about  this  artist,  save  that  he  worked  for  a  few  years  in 
the  middle  of  the  ICwansei  period.  His  prints  are  rare.  The  few  that  he  de¬ 
signed  are,  for  the  most  part,  of  marked  artistic  merit  arid  entitle  him  to  high 
rank  among  the  artists  of  the  Ukiyoe  school. 

840  Woman  Taking  a  Sponge-bath.  She  is  seated  before  a  tub  of  water, 
with  her  clothing  thrown  from  the  upper  part  of  her  body.  In  the 
background  is  a  screen  bearing  a  picture  of  The  Seven  Worthies  of 
the  Bamboo  Grove.  Signed,  Tamagawa  Shucho  gwa. 

Size,  15  x  10  inches.  Fine  impression,  in  good  condition.  See  illus¬ 
tration. 


Second  Evening 


240 


No.  841 


UTAGAWA  TOYOKUNI 

1769-1825 

841  Aki  Monaka.  "The  Middle  of  Autumn.”  A  tall  geisha  standing, 
looking  at  her  reflection  in  a  small  hand  mirror,  while  an  old  woman 
on  the  ground  back  of  her  ties  up  a  box  containing  her  luggage. 
Series:  Edo  Nishiki  Kotobuki  Ju-ni  gatsu,  i.e.,  "The  Twelve 
Months  in  Beautiful  Edo,  Wishing  you  Long-life  and  Happiness.” 
Signed,  Toyokuni  gwa. 

Size,  14%  x  9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


241 


Second  Evening 


PORTRAITS  OF  DISTINGUISHED  ACTORS 

Five  small  'portraits  from  the  hook  entitled  llHaiyu  Gaku-ya-tsu,”  Edo, 
1799.  Each  signed,  Toyokuni  gwa.  Size,  5 46  x  4  H  inches.  All  good  impres¬ 
sions,  in  good  condition. 

842  Ichikawa  Ebizo.  This  name  was  taken  by  the  fifth  Dan j  uro  when, 

in  1791,  he  made  his  son  the  sixth  Danjuro. 

843  Onoe  Matsusuke. 

844  Bando  Minosuke. 

845  The  Fourth  Nakamura  Denkuro. 

846  The  Ninth  Morita  Kanya. 


847  Matsumoto  Yonesaburo  as  a  woman  holding  a  child’s  kimono.  Signed, 

Toyokuni  gwa. 

Size,  14%  x  9%  inches.  Good  impression,  in  good  condition. 

KATSUSHIKA  HOKUSAI 

1760-1849 

848  Toto,  Aoi-ga-oka  no  Taki.  “The  Hollyhock  Hill  Waterfall”  in  Edo. 

Series:  Shokoku  Taki  Meguri,  i.e.,  “A  Journey  to  the  Waterfalls 
in  the  Home  Provinces.”  Signed  Zen  (formerly)  Hokusai,  Iitsu 
fude. 

Size,  14%  x  10  inches.  Fine  impression,  in  fine  condition. 

849  Jogaku  Reisen.  “The  Sacred  Fountain  at  Jogaku.”  Series:  Ryukyu 

Hakkei,  i.e.,  “Eight  Views  in  the  Ryukyu  Islands.”  Signed, 
Zen  Hokusai  Iitsu  fude. 

Size,  9Y2xl4y2  inches.  Good  impression.  Trimmed  from  10x15 
inches,  in  good  condition  otherwise. 

850  Ryudo  no  Shoto.  “The  Pine-wave  at  Shoto.”  Same  series  and  sig¬ 

nature  as  the  preceding  lot. 

Size,  9lA  x  14lA  inches.  Fine  impression,  in  good  condition  save  that 
it  has  been  trimmed  down  from  10  x  15  inches. 


Second  Evening 


242 


851  Useless  Habits.  Large  head  portraits  of  two  women,  one  of  them 
holding  a  ground  cherry  in  her  mouth  to  make  a  squeaking  sound 
by  gently  compressing  it  with  her  lips;  the  other  looking  at  the 
image  of  her  open  mouth  reflected  in  a  hand  mirror,  and  pre¬ 
paring  to  scrub  her  teeth  with  a  white  cloth  that  is  wrapped 
about  her  forefinger.  Mica  ground.  Series:  Furyu  Nakute  Nana 


No.  841 


243 


Second  Evening 


Kuse,  i.e.,  “Fanciful  Presentation  of  Seven  Useless  Habits.” 
Signed,  Kako  gwa. 

This  is  an  extremely  rare  and  important  Hokusai  item.  The 
influence  of  Sharaku  is  clearly  shown,  but  his  style  is  assimilated 
rather  than  copied,  and  the  result  is  a  powerful  characterization, 
distinctly  Hokusai’s  own.  It  is  a  work  of  remarkable  vigor,  the 
drawing  of  the  hair  of  the  woman  holding  the  hozuki  in  her  mouth 
being  especially  fine.  And  the  print  enables  us  to  determine  with 
reasonable  certainty  that  it  was  in  the  year  1795  that  Hokusai 
used  the  Kako  signature. 

Size ,  14%  x  9%  inches.  Fine  impression ,  in  fine  condition.  See 
illustration. 

INCHU  HASSEN 

“  The  Eight  Immortal  Wine-bibbers,”  typified  by  Japanese  women.  Com¬ 
plete  set  of  eight  prints.  Each  signed,  Kyukyushin  Hokusai  gwa. 

Size,  8%  x  3%  inches.  Fine  impressions,  in  fine  condition. 

852  Shosui.  A  woman  in  a  black  zukin  (hood)  on  a  boat  landing,  holding 

a  lantern  suspended  from  the  end  of  a  stick. 

853  Sasho.  “Drinking  with  the  left  hand.”  A  woman  seated,  holding  an 

enormous  sak6  cup. 

854  Chokyoku.  A  woman  writing  a  large  Chinese  character. 

855  Joyo.  A  woman  leaning  on  a  small  book-stand  on  wheels.  Back  of 

her  is  a  tall  box  of  books. 

856  Soshin.  A  woman  seated  before  a  cabinet  on  which  is  a  pottery  figure 

of  a  child  with  a  very  large  head. 

857  Soshi.  A  tall  woman  standing  on  a  hill,  looking  up  to  the  sky. 

858  Rihaku.  A  woman  seated  holding  a  brush.  Paper  covered  with 

writing  lies  on  the  floor,  and  a  large  tub  of  sake  with  a  straw  cover¬ 
ing  stands  in  the  background.  Rihaku  is  the  Japanese  pronuncia¬ 
tion  of  Li  Po,  the  name  of  China's  greatest  poet. 


Second  Evening 


244 


859  Chisho.  A  woman  seated,  leaning  on  a  kotatsu.  Above  are  New 

Year  decorations;  on  the  floor  behind  her  is  a  pile  of  boxes  for 
gifts. 

FOURTEEN  SMALL  SURIMONO 

All  fine  impressions,  in  good  condition.  Various  sizes  which  it  does  not 
seem  necessary  to  specify. 

860  Pleasure  Boats  on  the  River.  One  large  house-boat  and  several  smaller 

craft  passing  under  a  bridge.  Signed,  Gwakyo-jin  (painting-mad 
man)  Hokusai  gwa.  The  last  two  words  trimmed  off. 

861  A  New  Year’s  Scene.  A  girl  holding  a  battledore  and  a  shuttlecock, 

stopping  to  greet  a  woman  vendor  of  white  sake  who  is  seated 
between  two  kadomatsu.  Signed,  Gwakyo-jin  Hokusai  gwa. 

862  Komatsu  Biki.  A  woman  pulling  young  pine  trees  for  New  Year 

decorations;  another  woman  looking  on.  Signed,  Sori  gwa. 

863  Woman  Folding  a  Kimono.  A  bundle  tied  in  a  cloth  that  lies  on  the 

floor  at  her  feet  probably  explains  the  inscription,  “Fish  from 
Kokokan  lake,”  that  is  printed  near  the  left  margin.  Signed,  Sori 
aratame  (changed  to)  Hokusai  gwa. 

864  Woman  Reading  a  Book.  Signed,  Sori  aratame  Hokusai  gwa. 

865  Praying  for  Good  Luck.  A  geisha  who  is  attended  by  her  matron, 

tying  slips  of  paper  with  prayers  for  a  fortunate  year  written 
thereon,  upon  the  bars  of  a  fence  at  a  Shinto  shrine.  Signed,  Hoku¬ 
sai  fude. 

866  A  Court  Lady  of  the  Olden  Time.  Signed,  Kyukyushin  Hokusai  gwa. 

867  A  Potted  Plum  Tree  in  a  blue  and  white  porcelain  jardiniere.  On  the 

floor  by  its  side,  a  fan  with  a  poem  inscribed  upon  it.  Signed* 
Katsushika  Hokusai  gwa. 

868  At  the  Enoshima-ya  Tea-house.  A  waitress  serving  a  man  who  is 

seated  on  a  bench.  Not  signed. 

869  Materials  for  the  Shimenawa.  Gobei  (cut-papers),  straw,  a  crayfish, 

and  pine  branches  to  use  for  New  Year  decorations.  Signed, 


245 


Second  Evening 


Zen  Hokusai  Iitsu  fude.  Trimmed  at  the  left  so  that  only  a  little 
of  the  signature  remains. 

870  Uma  Zukushi,  Uma  Senbetsu.  “A  farewell  present”  of  a  pocket  book 

containing  money,  and  a  box  of  sweetmeats.  Signed,  Fuzensai 
Iitsu  fude. 

871  The  Plum  Branch.  A  court  lady  of  the  olden  time  seated  with  a  plum 

branch  before  her  on  a  wooden  stand.  Signed,  Hokusai  aratame 
Iitsu  fude. 

872  Humbly  Offering  It.  A  woman  seated,  bending  far  over  and  offering 

to  some  one  who  is  not  shown,  a  tanzaku  with  an  ode  written  upon 
it.  Signed,  Zen  Hokusai  Iitsu  fude. 

873  The  Spilled  Takaramono.  A  woman  standing  by  a  tsuitate,  looking 

down  at  an  overturned  dish  and  the  takaramono  (precious  articles 
emblematic  of  good  fortune)  that  are  scattered  upon  the  floor,  the 
dish  itself  assuming  the  aspect  of  the  hat  of  invisibility  which  is 
one  of  these  precious  things.  Signed,  Kanzan  Hishikawa  Sori  gwa. 

SHOTEI  HOKUJU 

Pupil  of  Hokusai.  Used  the  studio  names  Shotei  and  Ichimasa.  Worked 
in  the  second  and  third  decades  of  the  nineteenth  century.  Dates  of  birth  and 
death  not  known. 

874  Nihon  Bashi  no  Zu.  Picture  of  Nippon  bridge  crowded  with  people, 

many  of  whom  pause  to  look  down  at  boatmen  on  the  river  below. 
Series:  Shinpan  Ukiye,  i.e.,  “New  Block  Perspective  Views.” 
Signed,  Hokuju  gwa. 

Size,  8j4  x  12  A  inches.  Good  impression,  in  good  condition. 

875  Asakusa  Dera  no  Zu.  Kinryusan  Buddhist  temple,  Asakusa  district. 

View  within  the  grounds.  Signed,  Shotei  Hokuju  gwa. 

Size,  Ofi  x  14%  inches.  Ordinary  impression,  in  good  condition. 

876  Fukagawa,  Susaki,  Benten  Yori  Kaijo  o  Nozomu.  \  iew  of  the  sea 

from  the  Benten  shrine  at  Susaki  in  the  Fukagawa  district.” 

Signed,  Shotei  HokujQ  gwa. 

Size,  10  x  147A  inches.  Good  impression,  in  fair  condition. 


Second  Evening 


246 


No.  877 


877  Toto,  Shinagawa  Juku  Takanawa  O  Kido.  The  entrance  to  Takanawa 

from  Shinagawa  station,  between  the  walls  of  a  barrier  gate  that 
was  set  up  there  in  former  days.  Signed,  Shotei  Hokuju  gwa. 

Size,  10x15  inches.  Ordinary  impression,  in  good  condition.  See 
illustration. 

878  Ryogoku  no  Fukei.  "View  of  Ryogoku  Bridge.”  Signed,  Shotei 

Hokuju  gwa. 

Size,  9  Vs  x  US-- 4  inches.  Ordinary  impression,  fair  condition. 

879  Toeizan  Fnmoto,  Shinobazu  no  Ike,  Benzaiten  no  Zu.  "The  Benten 

shrine  in  Shinobazu  pond,  below  Toeizan  temple.”  Signed,  Shotei 
Hokuju  gwa. 

Size,  9J s  x  15  inches.  Ordinary  impression,  in  good  condition. 

880  Seishu  Futami  ga  Ura.  View  of  Futami  beach  at  Ise.  Signed,  Shotei 

Hokuju  gwa. 

Size,  95/ 8  x  1414  inches.  Ordinary  impression ,  in  good  condition. 

881  Kazusa  Ku-ju-ku  Ri  Jibiki  Ame.  "Drawing  in  a  fish  net  at  the  ninety- 

nine  ri  beach  in  Kazusa.”  Signed,  Shotei  Hokuju  gwa. 

Size,  9Y8  x  15  inches.  Good  impression,  in  good  condition. 


247 


Second  Evening 


882  Suzumi  no  Fukei.  “View  of  Cooling,”  i.e.,  boating  parties  on  the 

river  at  Ryogoku  and  people  taking  the  air  on  the  bridge.  Signed, 
Hokuju  gwa.  Dated,  snake  year,  1833. 

Size,  9f £  x  6Ys  inches.  Poor  impression,  in  fair  condition. 

883  Ryogoku  Bashi  Ukiye.  “Perspective  View  of  Ryogoku  Bridge.” 

Signed,  Shotei  Hokuju  gwa. 

Size,  7  fix  10  inches.  Fine  impression,  in  fine  condition. 

884  Teppozu  Tsukuda-jima  no  Uki  Fune.  “  View  of  Teppozu  and  Tsukuda 

Island  and  Boats  floating  on  the  Water.”  Signed,  Shotei  Hokuju 
gwa. 

Size,  7Ys  x  lOfg  inches.  Fine  impression,  in  fine  condition. 

885  View  of  Enoshima,  Mt.  Fuji  in  the  Distance.  Not  signed.  Probably 

trimmed  down  from  a  larger  sheet  and  the  signature  sacrificed  in 
the  process.  The  attribution  to  Hokuju  is  tentative. 

Size,  4/4  x  7  fi  inches.  Good  impression,  in  good  condition. 


UTAGAWA  KUNISADA 

Pupil  of  Toyokuni  I.  Personal  name  Tsunoda  Shozo.  Used  many  studio 
names  besides  Kunisada  among  which  Ichiyusai,  Gototei,  and  Kochoro  were 
the  most  common.  He  also  called  himself  Toyokuni  II,  but  as  Toyoshige  ( other¬ 
wise  known  as  Kosotei  Toyokuni)  had  previously  taken  that  name,  he  should  be 
known  as  Toyokuni  III.  Born  1786;  died  186 4. 

886  Kiri  Naka  no  San  Sui.  A  foggy  landscape.  Signed,  Kochoro  Kunisada 

gwa. 

Size,  10  x  If  inches.  Fair  impression,  in  good  condition.  See  illus¬ 
tration,  p.  21+8. 

887  Momiji  Gari  no  Zu.  “Viewing  Maple  Trees  in  Autumn.”  Signed, 

Kochoro  Kunisada  gwa. 

Size,  9%  x  17f.fi  inches.  Fine  impression,  in  good  condition. 

888  Futami  no  Ura  Akebono  no  Zu.  “Daybreak  at  Futami  Beach.” 

Signed,  Kochoro  Kunisada  gwa. 

Size,  10 Y  x  15  inches.  Fine  impression,  in  fine  condition. 


Second  Evening 


248 


No.  886 

889  Asazuma  Bune.  “Asazuma  in  a  Boat.”  Asazuma  was  the  mistress 

of  Iyetsuna,  the  fourth  Tokugawa  Shogun  who  neglected  the  cares 
of  government  for  endless  boating  parties  in  her  company.  Signed, 
Kochoro  Ivunisada  gwa. 

Size,  9]A  x  1 4  hf  inches.  Fine  impression,  in  good  condition.  See 
illustration. 

890  Somo  no  Kocho.  “The  Butterfly  Garden.”  A  woman  seated  in  a 

round  window  reading  a  letter  while  a  butterfly  flits  about  her. 
Surimono.  Signed,  Oju  (by  request)  Ivunisada  gwa. 

Size,  8 hi  x  7  l/i  inches.  Good  impression,  in  good  condition. 

891  Asakusa  Kinryusan.  The  main  building  and  grounds  of  Kinryusan 

temple.  Uchiwa  mount.  Dated  eighth  month  rat  year,  1852. 
Signed,  Ivajuro  Ivunisada.  This  is  a  very  unusual  signature. 

Size,  8%  x  11%  inches.  Fine  impression,  in  fine  condition. 

UTAGAWA  KUNITSUNA 


By  some  writers  Kunitsuna  is  said  to  have  been  a  pupil  of  Kunisada,  but 
his  name  is  not  included  in  the  list  of  his  pupils  given  by  Professor  Tsubouchi 


249 


Second  Evening 


No.  SS9 


in  his  book  on  Toyokuni  and  the  Utagawa  line  of  artists.  And,  as  Kunitsuna 
in  his  later  years  is  said  to  have  called  himself  Kuniteru  II,  it  would  seem 
probable  that  he  was  a  pupil  of  Kuniteru  I. 

892  Fuji  ni  Tsubame.  Wistaria  blossoms  and  swallows.  Signed,  Kunitsuna 
fude.  Dated  sixth  month  horse  year,  1858. 

Size,  8%  x  5 %  inches.  Ordinary  impression,  in  good  condition. 


UTAGAWA  KUNIMARU  I 

Pupil  of  Toyokuni.  Used  the  studio  names  Ichiensai,  Keiuntei  and 
Honchoan.  Born  1793;  died  1829. 

893  Musume  ni  Dechi.  A  young  woman  returning  from  a  visit  to  a  Shinto 
shrine,  attended  by  a  boy  servant  who  carries  a  bamboo  branch 
with  a  paper  snake  coiled  about  it.  Surimono  for  the  snake  year, 
1821.  Signed,  Ichiensai  Kunimaru  fude. 

Size,  x  6%  inches.  Fine  impression,  in  fine  condition. 


Second  Evening 


250 


UTAGAWA  KUNIYASU  I 

Pupil  of  Toyokuni.  Used  the  studio  names  Ichihosai  (or  Ipposai),  and 
Yasugoro.  For  a  short  time  he  called  himself  Nishikawa  Yasunobu,  then  re¬ 
sumed  the  Kuniyasu  name.  Born  1794;  died  about  1832  (or  1834). 

894  A  Warrior.  He  wears  a  brocade  garment  over  his  armor  and  carries 

his  helmet  hung  from  a  plum  branch  held  across  his  shoulder. 
Surimono.  Signed,  Ipposai  Kuniyasu  gwa. 

Size,  x  6lA  inches.  Fine  impression,  in  fine  condition. 

895  Tsuki.  “The  Moon.”  A  woman  standing  near  the  bow  of  a  barge 

that  is  putting  out  to  sea  on  a  moonlight  evening.  Signed,  Kuni¬ 
yasu  gwa. 

Size,  14  x  9}/ §  inches.  Fine  impression,  in  fine  condition. 


UTAGAWA  KUNIYOSHI 

1797-1861 

KOSO  GO  ICHIDAI  RYAKU  ZU 

“Simple  pictures  of  the  whole  life  of  Koso,”  otherwise  known  as  Nichiren, 
the  renowned  Buddhist  monk,  who  founded  the  Hokke-shu,  commonly  called 
the  Nichiren  sect.  Six  of  the  set  of  ten  prints  and  one  duplicate.  Size  about 
9 14  x  1414  inches.  All  fine  impressions,  in  fine  condition.  Numbers  897  and 
900,  signed  Cho-o-ro  Kuniyoshi,  the  others  signed  Ichiyusai  Kuniyoshi. 

896  Nichiren  in  Exile  in  Sado-ga-Shima.  Nichiren,  exiled  to  the  island 

of  Sado  in  the  Sea  of  Japan,  leaving  the  little  haven  of  Teradomari 
in  a  snowstorm  on  his  way  to  Tsukahara  where  he  lived  from 
December  1271,  until  April  1274,  when  he  was  released  and  returned 
to  Kamakura. 

897  The  Vision  of  Shakyamuni.  Nichiren  and  the  soldiers  who  have  him 

in  charge  see  a  vision  of  the  Buddha  standing  on  the  trunk  of  a 
leafless  plum  tree  on  a  moonlight  night. 


251 


Second  Evening 


898  The  Prayer  for  Rain  Answered.  Nichiren  standing  on  a  rock  over¬ 
hanging  the  sea  at  Kamakura,  after  a  long  drought  in  1271,  and 
the  rain  descending  in  answer  to  his  prayer.  A  disciple  holds  a 
red  umbrella  over  the  monk’s  head  to  protect  him  from  the  down¬ 
pour. 


No.  896 


899  The  Suspended  Rock.  There  are  several  versions  of  the  legend  il¬ 
lustrated  in  this  print.  One  is  that  a  band  of  Yamabushi  hurled  a 
great  rock  at  him  from  the  mountainside,  which,  by  the  exercise 
of  his  spiritual  power  he  caused  to  be  suspended  in  the  air.  The 
correct  version,  as  here  depicted,  is  that  a  proponent  of  another 
Buddhist  sect  who  had  challenged  Nichiren  to  a  debate  and  test 
of  power,  by  uttering  a  fervent  prayer  caused  a  great  rock  that  lay 
on  the  ground  between  them,  to  rise  high  above  their  heads,  where¬ 
upon  Nichiren,  in  implicit  faith  that  the  integrity  of  his  doctrine 
would  be  upheld,  calmly  made  a  silent  prayer,  with  the  result  that 
the  rock  remained  suspended  in  the  air  while  his  agonized  an¬ 
tagonist  vainly  endeavored  to  recall  it  to  the  ground,  and  with  the 
further  result  that  the  defeated  man,  realizing  that  to  keep  the 


Second  Evening 


252 


rock  suspended  above  them  was  convincing  proof  of  greater  power 
than  that  required  to  raise  it,  at  once  became  one  of  Nichiren’s 
disciples. 

900  The  Apparition  of  Shichimenjin.  While  Nichiren  was  praying  at 

Mount  Minobu,  in  1277,  a  beautiful  woman  appeared  before  him. 
Recognizing  her  character  Koso  held  up  a  roll  of  the  scriptures  and 
commanded  that  she  assume  her  real  shape,  whereupon  she  changed 
into  a  great  dragon  and  disappeared  in  a  cloud. 

901  A  Storm  Quelled  by  Prayer.  On  his  way  to  exile  in  the  Isle  of  Sado, 

a  terrific  storm  arose  which  Nichiren  quelled  by  casting  a  spell  upon 
the  waters  in  the  form  of  the  Buddhist  invocation,  Namu  Miyo  ho 
ren  ge  Kiyo,  i.e.,  “Hail  to  the  Jewel  in  the  Lotus.” 

902  The  same.  Another  impression.  Margins  trimmed  off. 

BUYU  MITATE  JU-NI  SHI 

“  Transformed  Presentation  of  the  Twelve  Signs  of  the  Zodiac.”  Eleven  of  the 
set  of  twelve  'prints  and  one  duplicate.  Size,  about  inches.  Each 

signed,  Ichiyusai  Kuniyoshi  gwa.  Good  impressions,  in  fair  condition. 

903  The  Sign  of  the  Rat.  This  is  illustrated  by  a  picture  of  Raigo  Ajari, 

a  priest  of  Onjoji,  who,  in  1097,  by  his  prayers  secured  a  male  heir 
to  Shotoku  Tenno.  For  this  the  grateful  Emperor  offered  him  any 
reward  he  might  desire,  so  he  asked  for  a  raised  platform  in  his 
temple  whereupon  to  offer  prayers.  But  this  was  an  exclusive 
privilege  of  the  temple  of  the  Hiezan  monastery,  and,  fearing  that 
the  warrior  monks  of  that  community  would  attack  him  should  he 
grant  Raigo’s  request,  he  denied  it.  This  caused  the  priest  to 
starve  himself  to  death,  taking  the  young  prince  with  him  to  the 
Kingdom  of  Shades,  and,  as  he  passed  away  his  spirit  was  trans¬ 
formed  into  a  thousand  rats  that  afterward  infested  the  palace. 

904  The  same.  Another  impression,  not  in  as  good  condition. 

905  The  Sign  of  the  Horse.  Soga  no  Goro  on  the  horse  he  found  grazing 

in  a  field  and  mounted  to  ride  in  hot  haste  to  Oiso  to  get  his  brother 
Juro  to  join  him  that  they  might  seek  out  their  uncle  Kudo  Suke- 


253 


Second  Evenina 


tsune  whom  they  had  sworn  to  kill  to  avenge  the  murder  of  their 
father.  Kudo  was  then  on  a  hunting  trip  with  Yoritomo  and  in 
camp  near  Fuji.  And  there  it  was  that  the  brothers  finally  suc¬ 
ceeded  in  accomplishing  their  vendetta. 

906  The  Sign  of  the  Snake.  Nitta  no  Shiro  Tadatsune  killing  the  snakes 

that  infested  the  Ivwannon  cave  on  Mt.  Fuji. 

907  The  Sign  of  the  Tiger.  Kato  Kiyomasa  killing  the  Korean  tiger  with 

his  spear. 

908  The  Sign  of  the  Hare.  Iga  Jutaro,  a  gray-haired  old  man  seated  before 

a  low  table  in  a  deserted  temple  under  a  baldachin  covered  with 
cobwebs,  holding  a  hare  which  he  is  about  to  cut  up  with  a  cleaver 
and  cook  over  the  fire  that  is  blazing  in  a  hibachi  behind  him. 

909  The  Sign  of  the  Dragon.  Susano-o  no  Mikoto  standing  upon  a  rock 

by  the  sea,  waiting  for  an  opportunity  to  kill  a  dragon  that  is 
swimming  in  the  waves. 

910  The  Sign  of  the  Ram.  Kuan  Yii,  the  most  renowned  of  China’s 

military  heroes,  seated  in  his  garden  on  a  moonlight  evening,  a 
glass  of  wine  in  his  hand  and  his  pet  white  ram  on  the  ground  before 
him. 

911  The  Sign  of  the  Monkey.  This  is  illustrated  by  a  representation  of 

Son  Goku,  named  in  the  Chinese  religio-philosophic  tale  “Saiyuki,” 
as  one  of  the  three  protecting  followers  and  disciples  who  accom¬ 
panied  the  famous  priest  Hsiian  Tsang  on  his  journey  to  India  in 
the  year  629.  The  three  followers  represent  allegorically  the  weak¬ 
ness  of  human  nature.  Goku  was  a  monkey,  and  is  shown  sending 
forth  a  swarm  of  little  monkeys  to  battle  a  tempter  in  the  guise  of 
a  pig-faced  goblin. 

912  The  Sign  of  the  Cock.  Kaidomaru,  otherwise  known  as  Kintaro,  the 

golden  boy,  watching  a  fight  between  a  cock  and  a  tengu  (bird-man) 
chick. 

913  The  Sign  of  the  Dog.  Hata  Rokurozaemon  holding  his  famous  kenjishi 

(lion  dog)  in  leash  while  the  banners  of  the  Hojo  forces  are  seen 
over  the  crest  of  a  pine-clad  ridge  in  the  background.  Rokuro- 


Second  Evening 


254 


zaemon  was  a  brave  soldier  who  fought  under  the  renowned  Nitta 
Yoshisada.  By  the  aid  of  his  remarkably  intelligent  dog  and  a  few 
devoted  followers  he  captured  twelve  of  the  thirty-seven  fortresses 
held  by  the  Hojo.  The  dog  was  sent  to  the  enemy’s  lines  after 
nightfall;  if  he  found  the  guards  alert  he  came  back  and  barked,  if 
the  watch  was  neglected  he  reported  the  favorable  condition  by 
wagging  his  tail. 

914  The  Sign  of  the  Boar.  The  Emperor  Yuriaku  (456 — 511),  reputed  a 

very  cruel  man,  killing  a  wild  boar  with  a  kick. 

UTAGAWA  HIROSHIGE 

1797-1858 

Kwacho.  “  Flower  and  bird  pictures .”  Eleven  subjects,  each  signed 

Hiroshige  fude. 

915  Ayame  ni  Kawasemi.  Siberian  Iris  and  Kingfisher. 

Size,  14Ys  x  4/i  inches.  Fine  impression,  in  good  condition. 

916  A  Bird  Clinging  to  a  Wistaria  Vine. 

Size,  14%  x  47A  inches.  Good  impression,  in  fair  condition. 

917  Two  Wild  Ducks  among  Reeds  with  Ears. 

Size,  145A  x  5  inches.  Fine  impression,  not  in  very  good  condition. 

918  Water  Plants  and  Mandarin  Ducks. 

Size,  14%  x  6%  inches.  Good  impression,  in  poor  condition. 

919  Tsubaki  ni  Buncho.  Camellia  and  Bird. 

Size,  13 ,34  x  4Vs  inches.  Good  impression,  in  fair  condition. 

920  Tsubaki  ni  Buncho.  The  same  subject  but  a  different  design. 

Size,  4Vsx  6 1/2  inches.  Good  impression ,  not  in  very  good  condition. 

921  Hibiscus  Mutabilis  and  (?)  Jay. 

Size,  4V&  x  6lA.  inches.  Good  impression,  in  fair  condition. 

922  Hibiscus  and  Ducks. 

Size,  3 >'8  x  6 Yu  inches.  Good  impression,  in  fair  condition. 

923  White-headed  Bird  and  Autumn  Leaves. 

Size,  4Vs  x  6%  inches.  Good  impression,  in  good  condition. 


255 


Second  Evening 


924  Ayame  ni  Kanari.  Siberian  Iris  and  Canary. 

Size,  12%  x  4%  inches.  Late  impression,  in  poor  condition. 


No.  925 


925  Plovers  Flying  Over  Breakers. 

Size,  13%  x  43/2  inches.  Fair  impression,  in  fine  condition.  See 
illustration. 


Harimaze.  Small  pictures,  several  of  which  were  printed  upon  a  sheet, 
only  one  of  which  was,  as  a  rule,  signed. 

926  Fuji  and  Cherry  Blossoms.  Circular  composition.  Signed,  Hiroshige. 

Size,  diameter  5 %  inches.  Good  impression,  in  good  condition. 


Second  Evening 


256 


927  Gotenyama  no  Manka.  Cherry  trees  in  full  bloom  on  Goten  hill. 

Size,  5 %  x  5%  inches.  Fine  impression,  in  fine  condition. 

928  Two  prints,  (a)  A  junk  sailing  to  Marugami  in  Sanuki.  (b)  View 

of  Maizaka  in  Totomi. 

Both  in  good  condition. 

929  Tonegawa  no  Koi.  A  carp  swimming  in  the  Tone  River. 

Hexagonal  form,  height  6%  inches,  width  5  %  inches.  Good  impression, 
good  condition. 


930  Three  prints,  (a)  A  small-winged  scaly  mullet  and  an  awabi  shell. 

(b)  Dobin  ni  Gotoku  (water  pot  on  an  earthen-ware  stove),  ni 
chawan  ni  chataku  (tea-cups  and  saucers),  (c)  Fuchu  station. 
Half-block  Tokaido  set  published  by  Sano-Ki. 

931  Sagami  Shichi-ri  ga  Hama.  View  of  Fuji  from  Seven-ri  beach  in 

Sagami.  Series,  Thirty-six  Views  of  Fuji.  Signed,  Hiroshige  gwa. 

Size,  1 2 3-2  x  8%  inches.  Very  fine  impression.  Trimmed  about  a 
half  inch  in  length  and  width;  otherwise  in  very  fine  condition. 

932  Bushu.  Koganei  Zutsumi  Manka  no  Zu.  Cherry  trees  in  full  bloom 

on  the  embankment  at  Koganei  in  Bushu.  Signed,  Ichiryusai 
Hiroshige  fude. 

Triptych.  Size,  14%  x  29%  inches.  Fair  impression,  in  fair  condi¬ 
tion. 

MEISHO  EDO  HYAKIvEI 

“ Famous  Sights  of  Edo,  One  Hundred  Views.”  Twenty-one  of  the  119 
prints  of  this  series  and  three  duplicates.  Each  signed  Hiroshige  and  dated 
with  various  seal  dates  from  1856  to  1858.  Size,  13%  x  8%  inches. 

Many  editions  of  the  prints  of  this  series  were  printed  and  impressions 
differ  widely  in  quality  and  in  beauty.  All  of  the  impressions  here  listed  are 
fine,  and  in  fine  condition,  except  as  specifically  noted. 

933  Atago  Shita  Yabukoji.  View  of  the  street  called  Yabukoji  at  the  foot 

of  Atago  hill,  Shiba  district.  Snow  scene. 

See  Illustration. 


257 


Second  Evening 


No.  933 


934  Fukagawa  Susaki  Ju-man  Tsubo.  A  bird’s-eye- view  over  the  ten 

thousand  tsubo  (a  land  measure)  snow-clad  plain  at  Susaki,  Fuka¬ 
gawa  district. 

935  Ryogoku  Hanabi.  Fireworks  at  Ryogoku  bridge.  Impression  with 

a  halo  of  light  behind  the  exploding  stars  of  the  rocket. 

936  Takanawa  Ushi  Machi.  Edo  bay,  with  a  rainbow  spanning  the  sky, 

seen  from  Ox  Street,  Takanawa,  where  an  ox  cart  stands  on  the 
beach  with  melon  rinds  in  the  foreground,  and  two  puppies  playing 
with  a  straw  sandal. 


Second  Evening 


258 


937  Oji  Shozoku  Enoki  Omisoka  no  Kitsuni  Bi.  Fox-lights  on  New  Year’s 

Eve  under  the  Enoki  trees  at  Oji. 

Ordinary  impression ,  in  good  condition. 

938  Sakai  no  Watashi.  The  ferry  to  the  hamlet  of  Watashi. 

939  Masaki  Henyori  Suijin  no  Mori  Uchikawa  Sekiya  no  Sato  o  Miru  Zu. 

The  Suijin  woods,  Uchikawa,  and  Sekiya  village  seen  from  the 
window  of  a  house  near  Masaki. 


No.  940 


7 


940  O  Hashi  no  Yudachi.  Rainstorm  at  the  big  bridge. 

Good,  though  rather  late  impression  in  unusual  coloring.  In  fine  com- 
dition.  See  illustration. 


259 


Second  Evening 


No.  941 


941  Fukagawa  Kiba.  The  lumber  yards  in  Fukagawa  seen  after  a  snowfall. 

See  illustration. 

942  Kyobashi  Take-gashi.  The  “bamboo-bank”  at  Kyo  bridge;  the  bam¬ 

boo  merchants’  quarter  with  great  stacks  of  poles  in  their  yards 
along  the  canal. 

943  Sunamura  Moto  Hachiman.  View  from  the  grounds  of  the  Original 

Hacbiman  shrine  at  Sunamura. 

944  Saruwaka  Cho  Yoru  no  Kei.  Night  scene  in  Saruwaka  street  where 

two  of  the  principal  theatres  were  located.  Impression  with  the 

large  moon. 

Slightly  trimmed  down. 


Second  Evening 


260 


945  Kanasugi  Bashi,  Shibaura.  A  holiday  procession  crossing  the  Kanasugi 

bridge,  Shibaura,  at  the  Nichiren  fete,  on  the  thirteenth  day  of  the 
tenth  month. 

946  Haneda  no  Watashi,  Benten  no  Yashiro.  The  Benten  shrine  at  Susaki 

seen  from  the  Haneda  ferry  boat. 

947  Hiro-o,  Furukawa.  A  narrow  stream  between  green  banks,  and  at  the 

left,  a  tea-house  outside  the  monastery  of  Korinji. 

948  Ayasegawa  Kane-ga-fuchi.  ‘'The  Pool  of  the  Bell,  Ayase  River.” 

A  man  poling  a  raft,  seen  beneath  a  great  flowering  branch  of  a 
mimosa  tree. 

949  Asakusa  Tanba  no  Tori  no  Machi  Mode.  View  from  the  window  of 

a  house,  of  people  returning  from  the  annual  fair  before  the  New 
Year  holidays,  at  Kinryusan  temple,  Asakusa  district. 

Trimmed  a  half  inch  in  length  and  the  same  in  width. 

950  Bakuro  Cho  Hatsune  no  Baba.  The  first-riding  ground,  Bakuro 

street,  the  horse  dealers’  quarter. 

951  Komagatado  Azuma  Bashi.  View  of  Azuma  bridge  from  the  Koma- 

gatado  at  Onmaya-gashi. 

952  Fukagawa  Hachiman  Yama  Biraki.  The  opening  of  the  season  in 

the  grounds  of  the  Hachiman  shrine,  Fukagawa  district. 

953  Horikiri  no  Hana  Shobu.  Iris  flowers  at  Horikiri. 


954  Takanawa  no  Yu-zuki.  “Evening  Moon  at  Takanawa.”  A  woman 
seated  on  a  wooden  bench  at  a  tea-booth  on  the  beach,  her  kago 
resting  on  the  ground  by  her  side.  Series,  Edo  Murasaki  Meisho 
Genji.  Signed,  Hiroshige  gwa. 

The  prints  of  this  series  are  commonly  attributed  to  the  second 
Hiroshige,  but  that  attribution  is  erroneous.  They  bear  the  im¬ 
print  of  a  censor’s  seal  that  was  used  during  only  the  twelve  years 


2G1 


Second  Evening 


from  1842  to  1854.  Moreover  the  figures  are  in  the  characteristic 
style  of  Hiroshige  I. 

Size,  lSl/i  x  .9 J  s  inches.  Good  impression,  in  good  condition. 
CHUSHINGURA 

“The  Loyal  Leagued  The  series  published  by  Arita-ya  Seiemon  about 
181$.  Complete  set  of  twelve  prints.  Size,  Off  x  1  4  inches.  Each  signed, 
Hiroshige  gum,  and  bearing  the  seal  of  the  censor  Mura.  Fine  impressions,  in 
fine  condition. 

955  Act  I.  Moronao  upbraiding  Wakasa-no-suke  for  sending  Ivaoyo-gozen 

away  without  his  permission. 

956  Act  II.  Ivonami  bearing  a  cup  of  tea  to  her  lover  Rikiya,  and,  in  the 

background,  her  father  Kakogawa  Honzo  cutting  off  the  pine 
branch. 

957  Act  III.  Hayano  Kanpei  driving  off  Bannai  and  his  crew. 

958  Act  IV.  Yuranosuke  leaving  the  mansion  of  Enya  Hangwan  at  Ogiga- 

yatsu  after  the  funeral. 

959  Act  V.  Sadakuro  gloating  over  the  gold  pieces  taken  from  the  murdered 

Yoichibei. 

960  Act  VI.  0  Karu  being  borne  away  to  Ichimonji-ya. 

961  Act  VII.  Yuranosuke,  playing  blind-man’s-buff  with  the  women  of 

Ichimonji-ya,  catches  Yazama  Jutaro. 

962  Act  VIII.  Tonase  and  Ivonami  journeying  to  Yamashina. 

963  Act  IX.  The  arrival  of  Honzo  at  Yamashina. 

964  Act  X.  Owashi  Bungo  running  after  0  Sono  to  cut  off  her  hair. 

965  Act  XI.  The  night  attack  on  Moronao. 

966  Act  XI.  The  final  scene.  The  ronin  disembarking  at  Takanawa  on 

their  way  to  Senkakuji  temple  where  they  all  committed  seppuku. 


Second  Evening 


262 


UTAGAWA  SHIGENOBU 

Pupil  and  son-in-laiv  of  Hiroshige.  Personal  name  Sukuki  Chimpei. 
First  studio  name  Shigenobu;  also  signed  Ichiyusai.  In  February  1859  ( first 
month  Ansei  6)  became  Hiroshige  II.  In  1865,  he  divorced  his  wife  that  she 
might  marry  his  fellow  pupil  Shigemasa,  to  whom  he  then  gave  the  Hiroshige 
name,  taking  that  of  Rissho  for  himself,  and  retiring  to  Yokohama.  He  also 
signed  as  Hirochika  II  in  his  later  years. 

967  Yoroi  no  Watashi.  “Yoroi  Ferry.”  Boats  crossing  on  a  winter’s  day  in 

falling  snow.  Series:  Toto  San-ju-rok-kei,  i.e.,  “Thirty -six  Views 
in  the  Eastern  Capital.”  Signed,  Hiroshige  gwa. 

Size,  13%  x  8%  inches.  Good  impression.  Slightly  trimmed  down, 
otherwise  in  fine  condition. 

968  Shohei  Bashi.  “Shohei  Bridge.”  View  on  a  moonlight  evening,  after 

a  snowfall.  Series,  Edo  Meisho  Zue.  Signed,  Hiroshige  gwa. 

Size,  12%  x  8%  inches.  Fine  impression,  a  good  deal  trimmed  down, 
m  fine  condition  otherwise. 

969  Emonzaka.  The  slope  leading  from  the  Nihon  Zutsumi  to  the  gate 

to  th$  Yoshiwara.  Same  series  and  signature  as  the  preceding  lot. 

Size,  13%  x  9%  inches.  Good  impression,  in  fair  condition. 
SHOKOKU  MEISHO  HYAIvKEI 

“One  Hundred  Views  of  Famous  Places  in  the  Home  Provinces.”  Four 
prints  of  the  series.  Each  about  13%  x  8%  inches.  Signed,  Hiroshige  gwa. 
Fine  impressions,  in  fine  condition. 

970  Kyoto  Tofukuji  Tsuten-bashi.  Tsuten  bridge,  in  the  grounds  of  the 

Tofukuji  Buddhist  temple,  Kyoto. 

971  Kyoto  Shijo  Yu-suzume.  Evening-cooling  in  the  Shijo  district,  Kyoto. 

Picnic  platforms  and  entertainment  booths  on  the  dry  bed  of  the 
Kamo  River.  Here  it  was  that  the  Japanese  theatre  had  its  origin 
and  the  first  dramatic  performances  were  held,  early  in  the  seven¬ 
teenth  century. 


263 


Second  Evening 


972  Sanuki,  Kubotani  no  Hama.  Kubotani  beach,  province  of  Harima. 

973  Toto  Aoyama  Hyakunin-cho.  The  street  leading  to  the  Aoyama  Ceme¬ 

tery,  Akasaka  district,  Edo. 

974  The  Night  Attack  on  Moronao’s  Yashiki.  The  Loyal  Ronin  gathered 

before  the  mansion,  some  of  them  upon  ladders  brushing  the  snow 
from  the  eaves  preparatory  to  the  assault.  By  each  of  the  figures 
is  a  small  placard  giving  his  name.  Signed,  Ichiyusai. 

Triptych.  Size,  131//8x29%  inches.  Good  impression,  in  good  con¬ 
dition. 

975  Shiba  Atago-yama.  View  from  Atago  hill,  Shiba  district.  Series, 

Toto  Meisho.  For  this  series  only  a  little  beni  and  several  tones  of 
blue  were  used.  Signed,  Hiroshige  gwa. 

Size,  8%  x  13%  inches.  Fine  impression,  in  fine  condition. 


No.  976 

976  Mimeguri  Zutsumi.  The  famous  booths  for  the  sale  of  Sakura  mochi, 
rice  cakes  with  cherry  petals,  on  the  Sumida  River  embankment  at 
the  Mimeguri  Inari  shrine,  Mukojima.  Series,  Toto  Meisho. 
Signed,  Hiroshige  gwa.  Dated  1862. 

Size,  8% x  13%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


Second  Evening 


264 


977  O  Hashi  no  Mitsumata.  The  great  bridge  and  the  mouth  of  the 

Sumida  River.  Men  swimming  in  the  stream  and  others  jumping 
from  the  bridge,  one  of  them  having  landed  in  a  cargo  of  melons  on 
a  boat  passing  underneath.  Series:  Edo  Meisho  Doke  Zukushi, 
i.e.,  “Jocular  Pictures  of  Famous  Places  in  Edo.”  Signed,  Hiro¬ 
shige  gwa. 

Size,  13%  x  8%  inches.  Fine  impression,  in  fine  condition. 

SHIGENOBU  AND  KUNISADA 

978  Imado  Yakimono.  Potters’  kilns  at  Imado  seen  through  a  round 

window  in  a  house  where  a  woman  is  seated  reading  a  manuscript. 
Series:  Edo  Jiman  San-ju-rok-kei,  i.e.,  “Thirty-six  Views  of  Proud 
Edo.”  Signed,  Hiroshige  fude,  and  (for  the  figure)  Ki  5  Toyokuni 
fude,  i.e.,  “Seventy-seven-years-old  Toyokuni,”  which  fixes  the 
date  as  1862.  Engraved  by  Toshichi. 

Size,  12%  x  8%  inches.  Fine  early  impression,  in  fine  condition. 

UNKNOWN 

979  Daruma.  Seated  figure  of  the  Buddhist  Patriarch  Bodhidharma. 

Unsigned  sumi-e,  probably  a  reproduction  of  a  drawing  by  a  Kano 
artist  printed  for  sale  or  distribution  at  a  Buddhist  temple. 

Size,  19)4  x  11%  inches.  Good  impression,  in  fine  condition. 

From  the  Vicomte  de  Sartiges  collection 

UNKAN 

980  Red-flowered  Plum,  Falcon,  and  Sun.  Signed,  Unkan  (?)  fude. 

Size,  28 Ys  x  9%  inches.  Good  impression,  in  good  condition. 

TORII  KIYONAGA 

1752-1813 

981  The  Soga  Ryosha  Go  Sairei.  “The  Festival  of  the  Two  Soga  Shrines.” 

Otani  Tokuji  bearing  an  ornamental  lantern  (contributed  by  all 
the  actors  of  the  Kiri-za),  in  the  procession,  and  followed  by  the 
third  Azuma  Tozo.  Signed,  Kiyonaga  gwa. 

Size,  12%  x  5%  inches.  Fine  impression,  in  fine  condition. 


265 


Second  Evening 


No.  9*2 


982  Scene  from  a  Drama.  The  second  Ishikawa  Monnosuke  as  Hirai  no 
Hosho,  shown  riding  on  a  black  carabao;  the  fifth  Ichikawa  Danjuro 
as  Mokuemon,  the  firewood  gatherer,  in  reality  the  God  of  Ashigara- 
yama,  a  gray-haired  man  seated  on  the  ground  with  his  elbow 
resting  on  a  bundle  of  fagots  as  he  looks  up  at  Hatsu-hime  (?), 
daughter  of  Sarikvo,  impersonated  by  the  third  Segawa  Kikunojo. 
Drama,  “Otokoyama  Musume  Genji,”  the  Kaomise  play  at  the 
Kiri-za,  December  1785.  Signed,  Kiyonaga  gwa. 

Size,  147A  %  9%  inches.  Fine  impression,  in  fine  condition.  See 
illustration. 


Second  Evening 


266 


983  At  Hagidera.  A  young  man  wearing  the  formal  kamishimo,  seated  on 

a  wooden  bench  at  Hagidera,  a  garden  famous  for  its  luxuriant 
bush  clover.  A  tea-house  waitress  stands  beside  him,  and  a  boy 
servant  squats  at  the  end  of  the  bench.  Left-hand  sheet  of  a 
diptych.  Series:  Fuzoku  Azuma  Nishiki,  i.e.,  “Brocade  Pictures 
of  Customs  of  the  Eastern  Capital.”  Signed,  Kiyonaga  gwa,  but 
the  signature  has  been  trimmed  off. 

Size ,  14%  %  95/&  inches.  Fine  impression.  Trimmed  from  15  x  10 
inches,  otherwise  in  good  condition. 

984  The  Public  Bath-house.  Left-hand  sheet  of  the  famous  diptych, 

notable  for  the  drawing  of  the  nude  figures,  which  is  one  of  the 
rarest  of  Kiyonaga’s  important  prints.  Not  signed. 

Size,  14%  x  9 inches.  Fine  impression,  in  poor  condition. 

PAINTINGS 

Fourteen  small  unsigned  old  paintings  by  artists  of  various  schools.  Four 
of  them  are  used  folding-fan  mounts ;  one  is  a  study  in  line  composition  for  a 
figure  subject;  the  others  were  apparently  mounted  upon  screens.  It  was  not 
customary  to  sign  small  pictures  that  were  pasted  upon  screens,  if  all  of  them 
were  by  the  same  artist,  in  which  case  his  signature,  or  an  impression  of  his  seal 
was  sometimes,  though  not  invariably ,  placed  upon  the  field  of  the  screen. 

985  Tosa  School,  (a)  A  wood  carver  at  work  upon  a  statue  of  a  Bod- 

hisattva  to  be  placed  upon  the  lotus  pedestal  that  is  shown  at  the 
carver’s  right,  (b)  A  screen-maker  and  his  assistant  at  work  upon 
a  tsuitate.  The  screen  from  which  these  pictures  were  taken 
probably  had  others  of  like  character  mounted  upon  it,  each 
depicting  a  different  artisan.  Painted  in  colors  upon  paper. 
Sixteenth  century (?). 

986  Tosa  School.  An  audience  by  the  Emperor.  The  Imperial  Palace  is 

shown  at  the  left,  with  the  Emperor  seated  on  his  throne,  but  the 
curtain  in  the  doorway,  which  is  only  partially  unrolled,  hides  his 
face  and  the  upper  part  of  his  body.  Before  him,  on  the  engawa 
(veranda)  sits  the  Dajo-daijin,  or  Prime  Minister,  and  the  other 


267 


Second  Evening 


Ministers  of  State  are  seated  at  his  right  and  left.  Other  nobles, 
attendants  of  the  ministers,  are  shown  at  the  right,  seated  on  a 
platform  under  a  trellis  covered  with  blossoming  wistaria  vines. 
Fan  mount.  Painted  in  colors  and  gold  upon  paper.  Probably 
eighteenth  century. 

987  Tosa  School.  Court  nobles  viewing  cherry  blossoms.  Painted  in 

colors  and  gold  upon  paper.  Red  ground  with  gold  mottling.  Fan 
mount.  Nineteenth  century. 

988  Tosa  School.  On  a  gold  ground,  a  cherry  tree  in  full  bloom.  As 

with  nearly  all  late  work  in  Tosa  style  it  is  quite  as  much  Kano  as 
Tosa  in  treatment  and  would  be  more  accurately  described  as  of 
mixed  heritage.  Eighteenth  or  early  nineteenth  century. 

989  Tosa  School.  Cranes  flying  above  a  low  hill.  Painted  in  colors  on  a 

gold  ground,  upon  paper.  Fan  mount.  Eighteenth  or  early 
nineteenth  century. 

990  Kano  School.  Study  in  ink  and  color,  of  a  figure  of  Jurojin,  the 

Genius  of  Longevity,  one  of  the  group  of  “The  Seven  Fortune 
Beings.”  Upper  part  only,  showing  the  head  and  bust  of  Juro 
and  the  antlers  and  part  of  the  head  of  his  white  stag.  In  his  right 
hand  Juro  holds  a  very  large  green  jade  sceptre.  Nineteenth 
century. 

991  Kano  School.  A  mejiro  (Japan  white-eye)  clinging  to  a  branch  of  a 

tachibana  (noble  citron)  tree,  that  is  laden  with  fruit.  Circular 
composition.  Painted  in  colors  upon  paper.  Early  seventeenth 
century. 

992  Kano  School.  Bamboo  and  cock.  Circular  composition.  Painted  in 

colors  upon  paper.  Early  seventeenth  century. 

993  Kano  School.  An  owl  on  a  branch  of  an  oak  tree.  Circular  composi¬ 

tion.  Painted  in  ink  and  colors  upon  paper.  Early  seventeenth 
century. 

994  Kano  School.  A  Chinese  sage  seated  upon  a  bench,  watching  a  great 

artist  paint  an  ink  landscape.  Painted  in  ink,  color,  and  gold  upon 
paper.  Eighteenth  century (?). 


Second  Evening 


268 


995  Kano  School.  Two  doves  on  a  bent-over  branch  of  a  snow-laden  tree 

that  is  draped  with  red-leaved  ivy  vines.  Painted  in  colors  and 
gold  upon  paper.  Eighteenth  century(?). 

996  Kano  School.  An  assemblage  of  women  in  a  Chinese  palace.  Painted 

in  colors  and  gold  upon  a  paper  fan  mount.  Seventeenth  cen¬ 
tury  (?)■ 

997  Soga  School.  A  falcon  killing  a  pheasant.  Perhaps  the  work  of  a 

Kano  artist  though  the  subject  is  a  traditional  one  for  the  Soga 
painters.  Painted  in  colors  and  gold  upon  paper.  Seventeenth 
century  (?). 

SCREEN  DECORATIONS 

Four  paintings  of  chrysanthemums,  in  Momokawa  style,  the  flowers  built 
up  in  relief  with  gesso.  All  are  upon  fan-shaped  papers.  Date  uncertain. 

t 

998  Two  paintings.  White  chrysanthemums. 

999  Two  paintings.  White  and  red  chrysanthemums. 


PRINTED  BY  R.  R.  DONNELLEY 
AND  SONS  COMPANY  AT  THE 
LAKESIDE  PRESS,  CHICAGO,  ILL. 


